New s709 LUT For The FX9 That’s Less Green Than The Sony LUT.

Many users of the FX9 that have been shooting S-Log3 are finding that when they add the standard Sony version of the s709 LUT that their pictures have a slight green tint. I believe that this is because originally the s709 LUT was designed for the Sony Venice camera and the FX9 is very slightly different.  I recently created an experimental LUT to minimise this tint but some people found this tended to push some images slightly magenta.

So I now have a new version of the LUT which really does help combat the green tint. The difference between this LUT and Sony’s original s709 LUT is very small. The idea isn’t to create a new look, just to help get rid of the tint. So you won’t see a big difference, it’s subtle, but I think it really is better.

Click Here to download the ACs709 For FX9 LUT set.

Note: These LUTs are for S-Log3 and SGamut3.cine from the FX9. As usual I have include different versions of the LUT. There are 65x LUT’s suitable for grading as well as 33x LUT’s for monitors or grading software that doesn’t support the higher quality 65x LUTs. There are also minus1 and minus2 LUTS that have 1 and 2 stop exposure shifts for footage that has been shot brighter than the base exposure. In addition I have include the same LUTs but with Legal range input levels for use on Atomos and other recorders that record ProRes in using Legal Range.

Please feel free to share a link to this page if you wish to share these LUT’s with anyone else or anywhere else. But only share via a link to this page please.

If you find these LUT’s useful please consider buying me a coffee or other drink. To make a contribution please use the drop down menu here, there are several contribution levels to choose from.


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14 thoughts on “New s709 LUT For The FX9 That’s Less Green Than The Sony LUT.”

  1. Somehow the “Buy now” button does not work as expected. It takes me to my PayPal overview, but there is no obvious way to initiate a transfer. (I tried with the “Cocktail” option)

  2. Thanks for the work you do Alister, but I am very confused.

    I want to get my hands on the FX9 and test. But I thought that Sony final changed the tech on the Venice and FX9 for S-Log3 SGamut3.cine recording. Allowing users to change color temp, plus/minus green as well as EI/ISO and this valuable metadata would travel with the image to any NLE? Is this not correct? When handing over S-Log3 SGamut3.cine footage to a client, will the client still just see the chosen base ISO (over or under exposed depending on how you rate the camera) and no plus/minus green CC or custom color temp changes?

    I apologize for my ignorance, like I said I still haven’t had a chance to test the FX9 out (and still will). But this is important information that will be a big deciding factor in my next camera purchase.

  3. Hi Alister,
    Looking again and again the menu and I can’t find the way to import user 3D LUT into the FX9? Is that a limitation? It would be very strange as it was so easy and nice on FS7. Thanks for your help

  4. First off, thanks for creating these LUTs.

    After some use, I’ve found that the “Minus1” and “Minus 2” exposure compensated versions seem have a reduced peak-white and higher black point than the base LUT. So I tend to always need to add a levels adjustment after the LUT to bring back some contrast. Is this normal? Is it a side-effect of the exposure compensation built into the LUT?

    Thanks for your time.

  5. This LUT works great on the FS7 as well. I know you didn’t build it for that, but it works wonderfully. Glad to donate for such useful tools.

      1. So Abel Cine just released their Scene files and they are great and can essentially act as LUTS. I’d love some sort of patch that could convert .cube 3D Luts to scene files. That would be a miraculous act of God. Alternatively I’d love to be a Beta Tester for Version 2.0. That would also be amazing.

        Thank you for your hard work on the information for the FX9. Its almost a great camera. : )

        1. There simply are not enough ways to adjust the cameras gamma curves and matrix settings to make it possible to directly convert most LUT’s to a picture profile.

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