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Sony slog2 lut download how to#
Sony slog2 lut download full#

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.

Sony slog2 lut download full#

Sony's S-Log2 recordings are full range, and they should be interpreted as such, that's what my LUTs expect. 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. Full to legal range conversion LUTs for Davinci Resolve, Premiere Pro, and FCPX.Exposure modifier LUTs that range from -3 EV to +3 EV, in 1/3 stop increments.

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. This is not a strict requirement, I give you LUTs to modify exposure.

The LUTs expect an S-Log2 image overexposed by 1EV.

Best results will be achieved in daylight.

Correct white balance, I recommend doing custom wb using a gray/white card before shooting.

The low contrast version emulates the following settings: This means that LUTs designed for S-Log2/S-Gamut (such as the LC709A one from Sony) will not give a colour accurate result.Ĭoncatenating the LUTs should not be an issue, as the LUT provided with the tutorial is actually a 1D LUT, and the BMD Film output in Resolve should be well within the input range of the LUT, so there should not be any clamping or interpolation errors.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:Įach LUT comes in two versions, the normal one emulates the following settings: It is in the camera's native colour space, which is similar to S-Gamut but not the same, particularly the red primary. It is also worth noting that the S-Log2 of the FS700 is not in proper S-Gamut colour space. The tutorial video I made to go with it is here: There is an out of date version of the article on their website which should be ignored.

Sony slog2 lut download how to#

I wrote a workflow guide for Convergent design on how to deal with 7Q DNGs in Resolve. You need to transform it if you want it to match the internal S-Log2 recordings of the FS700. It's worth noting that FS-RAW recorded on the 7Q is not S-Log2. Is there no technical LUT to bring the files from BMDFilm -> sLog2 -> Rec 709 or is it literally a matter of creating your own custom LUT to bring files into spec? Convergent Design also provide a bunch of 'creative LUTs', but I'm not interested in that. Some web searching hasn't really given me the answers I'm looking for. I know stacking LUTs is not the best practice, but one could assume that would be the way to get there? Will post screenshots soon. sLog2 to Rec709) for the dailies look the results are completely unexpected.

but then say we decided to stack another LUT (eg. Essentially what it seems to be doing is converting one gamma/space to another. Convergent Design's website has a couple of links, and both are asking end-users to use a provided LUT that transforms the 7Q cDNG from 'BMDFilm' to 'sLog2'.

I'm perfectly happy with grading from log gamma with primaries as usual, but my understanding is that the 7Q's use of cDNGs (sLog2) vs Resolve's expectations of cDNGs (BMDFilm) are different- because of open standards. 709 dailies, and to grade sLog2 when accessing the original files.įor the life of me, I can't find any solid information on color managing this particular form of sLog2. FS700 with the 7Q, 4K raw cDNGs in sLog2.