A LUT, for Look-Up Table, is a file (.CUBE or.3DL extension) containing math instructions to replace a color by another one. It's like a color grading preset. This process is done pixel by pixel with a very high accuracy. These LUTs are compatible with many photo/video applications (list below). The LUT should be a 17x17x17 or 33x33x33.cube LUT (this is Continue reading → Posted in Uncategorized Tagged 3D LUT, CineEI, cube, look, LUT, PMW-F5, PMW-F55, raw, resolve, slog2, slog3, user LUT 2 Comments. Using Sony LUTs in.CUBE and.LOOK versions is very simple, and they allow you to achieve the specific cinematic look you need. Each LUT was created for fast and stylized color grading and is compatible with all video editing software like Premiere Pro CC, Sony Vegas, FCPX, After Effects CC, DaVinci Resolve.
What is this?
Slog2 Lut
This is a pack of 3D LUTs that convert Sony's S-Log2/S-Gamut3.cine to the following Fujifilm film simulations in DR400 mode:
- Provia
- Velvia
- Astia
- Classic Chrome
- Pro Neg Hi
- Pro Neg Std
- Eterna
Each LUT comes in two versions, the normal one emulates the following settings:
Sony Slog2 Lut For Premiere Pro
- 0 Shadow tone
- 0 Highlight tone
- 0 Color
The low contrast version emulates the following settings:
- -2 Shadow tone
- -2 Highlight tone
- -4 Color
Requirements
- S-Log2 gamma and S-Gamut3.cine gamut
- Correct white balance, I recommend doing custom wb using a gray/white card before shooting. Best results will be achieved in daylight.
- The LUTs expect an S-Log2 image overexposed by 1EV. This is not a strict requirement, I give you LUTs to modify exposure.
It's important to note that the LUTs were created using the Sony A6300's S-Log2 implementation, and although the colors of log profiles are rarely change, I can't say with 100% certainty that Sony didn't change them in newer models.
What else is in the package?
- Exposure modifier LUTs that range from -3 EV to +3 EV, in 1/3 stop increments.
- Full to legal range conversion LUTs for Davinci Resolve, Premiere Pro, and FCPX.
Order of operations
- Check your data levels.
This step is not required if you use the in-camera recordings in the latest versions of the editors mentioned, but it might be necessary when using externally recorded footage.
Sony's S-Log2 recordings are full range, and they should be interpreted as such, that's what my LUTs expect.
Just import the reference black image into your timeline (it's in the FixLevels folder), shoot a short clip with the lens cap on, import that as well, and compare the black levels.
If they match, you're fine. If they don't, and you're in Resolve, go to the Media pool, select your clips, right click, go to Clip attributes and select 'Full' at Data levels.
In Premiere Pro go to Effects, and choose Lumetri Presets -> Technical -> Full to Legal range, and choose the bit depth corresponding to your footage.
Alternatively, you can use my level adjustment LUTs in the FixLevels folder, there is a separate version for Resolve, Premiere and FCPX. The FCPX version should be applied via the built in Custom LUT tool. - Change exposure with the included exposure modifier LUTs if necessary.
- Do white balance correction if necessary.
- Apply the film simulation LUT.
How accurate is this?
I measured more than 10000 color patches for each profile, and I used my own color conversion engine to build 3D LUTs from these measurements.
The LUTs are very precise in daylight and they have smooth color transitions throughout the whole color space.
Sony Slog2 Lut Download
Purchase
The purchase process is automated, you should receive your personalized download link to your PayPal email address within a few minutes.
If you don't receive your link within 24 hours, please contact me. Always make sure to check your spam folder!
I don't offer refunds, but you can send me links to some of your stills or short movie files, and I'll apply the product to them. This will cost you nothing and you'll know exactly what to expect.
| Colorizer S-Log2 LUT Pack | $35 |
Applying LUTs in DaVinci Resolve
You can apply a LUT for color work in DaVinci Resolve 12.5 as follows.
First, download S-Log2 LUTs from the Sony website and save them in the LUT folder, because DaVinci Resolve 12.5 only includes S-Log3 LUTs.
Download 3D LUTs for DaVinci Resolve
- S-Gamut/S-Log2
- S-Gamut 3.Cine/S-Log3
Procedure
Start DaVinci Resolve 12.5 and make sure the Project Manager screen is displayed.
Click [New Project] and open a new project with a name of your choice.
- 0 Shadow tone
- 0 Highlight tone
- 0 Color
The low contrast version emulates the following settings:
- -2 Shadow tone
- -2 Highlight tone
- -4 Color
Requirements
- S-Log2 gamma and S-Gamut3.cine gamut
- Correct white balance, I recommend doing custom wb using a gray/white card before shooting. Best results will be achieved in daylight.
- The LUTs expect an S-Log2 image overexposed by 1EV. This is not a strict requirement, I give you LUTs to modify exposure.
It's important to note that the LUTs were created using the Sony A6300's S-Log2 implementation, and although the colors of log profiles are rarely change, I can't say with 100% certainty that Sony didn't change them in newer models.
What else is in the package?
- Exposure modifier LUTs that range from -3 EV to +3 EV, in 1/3 stop increments.
- Full to legal range conversion LUTs for Davinci Resolve, Premiere Pro, and FCPX.
Order of operations
- Check your data levels.
This step is not required if you use the in-camera recordings in the latest versions of the editors mentioned, but it might be necessary when using externally recorded footage.
Sony's S-Log2 recordings are full range, and they should be interpreted as such, that's what my LUTs expect.
Just import the reference black image into your timeline (it's in the FixLevels folder), shoot a short clip with the lens cap on, import that as well, and compare the black levels.
If they match, you're fine. If they don't, and you're in Resolve, go to the Media pool, select your clips, right click, go to Clip attributes and select 'Full' at Data levels.
In Premiere Pro go to Effects, and choose Lumetri Presets -> Technical -> Full to Legal range, and choose the bit depth corresponding to your footage.
Alternatively, you can use my level adjustment LUTs in the FixLevels folder, there is a separate version for Resolve, Premiere and FCPX. The FCPX version should be applied via the built in Custom LUT tool. - Change exposure with the included exposure modifier LUTs if necessary.
- Do white balance correction if necessary.
- Apply the film simulation LUT.
How accurate is this?
I measured more than 10000 color patches for each profile, and I used my own color conversion engine to build 3D LUTs from these measurements.
The LUTs are very precise in daylight and they have smooth color transitions throughout the whole color space.
Sony Slog2 Lut Download
Purchase
The purchase process is automated, you should receive your personalized download link to your PayPal email address within a few minutes.
If you don't receive your link within 24 hours, please contact me. Always make sure to check your spam folder!
I don't offer refunds, but you can send me links to some of your stills or short movie files, and I'll apply the product to them. This will cost you nothing and you'll know exactly what to expect.
| Colorizer S-Log2 LUT Pack | $35 |
Applying LUTs in DaVinci Resolve
You can apply a LUT for color work in DaVinci Resolve 12.5 as follows.
First, download S-Log2 LUTs from the Sony website and save them in the LUT folder, because DaVinci Resolve 12.5 only includes S-Log3 LUTs.
Download 3D LUTs for DaVinci Resolve
- S-Gamut/S-Log2
- S-Gamut 3.Cine/S-Log3
Procedure
Start DaVinci Resolve 12.5 and make sure the Project Manager screen is displayed.
Click [New Project] and open a new project with a name of your choice.
When the [Media] page is displayed, import your material.
In the volumes listed in the upper left, select a folder with material to import. Clip thumbnails are shown once the material has been imported.
Drag clips to the [Media Pool] area.
If the frame rate of a clip you drop does not match the project frame rate, a frame rate conversion window is displayed. Click [Change] to adjust the frame rate of imported material to match your project.
Open the [Edit] page.
In the toolbar, select [File] > [New Timeline]. A window opens. For your new timeline, decide details such as [Start Timecode] and [Timeline Name].
Clear the selected [Empty Timeline] check box, and then click [Create]. Latin for dummies pdf. All clips in the [Media Pool] area are arranged on the timeline.
Open the [Color] page.
Right-click one of the clip thumbnails in the middle of the screen and choose a LUT from [3D LUT].
Sony Slog2 Lut
You can also add your regular LUTs to the [3D LUT] menu.
Click the [Project Settings] icon in the lower right. In the window that opens, click [Open LUT Folder] in [Color Management]. Save the LUTs you will use in this LUT folder.
Slog2 Lut Free
Here, use the S-Log2 LUTs you downloaded initially. Click [Update Lists]. You can now select the LUTs from [3D LUT].
In actual editing, you may need to adjust the contrast before applying a LUT. In this case, go ahead and adjust the contrast before applying the LUT. With the LUT applied and your clip shown in colors for a Rec. 709 screen, you can now color grade it as you imagined it.
