Tag Archives: LUT

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

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S709 LUT (Venice Look) And 709(800) For LEGAL RANGE PRORES S-Log3 On Atomos and other Recorders.

As noted in my previous post there can be some issues with the way ProRes is recorded on many external monitors as a legal range files rather than Data Range.

Another side effect of this is that LUT’s designed for post production as well as most camera LUT’s don’t work correctly in the monitor. So even when you apply the same LUT in the camera as in the monitor the images look different.

To address this I am providing here 2 sets of LUTs for S-Log3 and SGamut3.cine designed to match the built in s709 and 709(800) Luts included in many Sony cameras. These LUTs are specifically for external recorders and should not be used in camera. When you use these LUT’s the pictures on the monitor should now match the the images in the cameras viewfinder when the built in  LUT has been applied.

You will find 3 LUTs of each type. One for the base exposure, one for footage exposed 1 stop brighter (minus1) and one for footage exposed 2 stops brighter than base (minus2).

As always (to date at least) I offer these as a free download available by clicking on the links below. Try them before you decide then pay what you feel is fair. All contributions are greatly appreciated and it really does help keep this website up and running. If you can’t afford to pay, then just download the LUT’s and enjoy using them, tell your friends and send them here. If in the future you should choose to use them on a paying project, please remember where you got them and come back and make a contribution. More contributions means more LUT offerings in the future.

Click Here to download the 709(800) and S709 Legal In LUTS for external recorders.

If you want to share the LUT’s please do so by a link to this page. You may not sell or distribute these LUTs anywhere without my prior consent.

To make a contribution please use the drop down menu here, there are several contribution levels to choose from.


Your choice:



pixel S709 LUT (Venice Look) And 709(800) For LEGAL RANGE PRORES S-Log3 On Atomos and other Recorders.

Experimental s709 LUT Specifically for the FX9.

I’ve had a few people comment that they feel that the PXW-FX9 is a touch green when you shoot S-Log3 and SGamut3.cine and then add the standard Sony s709 V200 LUT in post. So I have created a slightly modified version of the s709 LUT that I have tweaked specifically for the FX9. You can download it using the like below. Do let me know what you think.

AC-s709-for-fx9_v1.2_experimental.cube

Do the images from my Sony camera have to look the way they do?

— And why do Sony cameras look the way they do?

It all about the color science.

“Color Science” is one of those currently in fashion phrases that gets thrown around all over the place today. First of all – what the heck is color science anyway? Simply put it’s how the camera sees the colors in a scene, mixes them together, records them – and then how your editing or grading software interprets what is in the recording and finally how the TV or other display device turns the digital values it receives back into a color image. It’s a combination of optical filters such as the low pass filter, color filters, sensor properties, how the sensor is read out and how the signals are electronically processed both in the camera, by your edit/grading system and by the display device. It is no one single thing, and it’s important to understand that your edit process also contributes to the overall color science.

Color Science is something we have been doing since the very first color cameras, it’s not anything new. However us end users now have a much greater ability to modify that color science thanks to better post production tools and in camera adjustments such as picture profiles or scene files.

Recently, Sony cameras have sometimes been seen by some as having less advanced or poor color science compared to cameras from some other manufacturers. Is this really the case? For Sony part of the color science issue is that historically Sony have deliberately designed their newest cameras to match previous generations of cameras so that a large organisation with multiple cameras can use new cameras without having them look radically different to their old ones. It has always been like this and all the manufacturers do this, Panasonic cameras have a certain look as do Canon etc. New and old Panasonics tend to look the same as do old and new Canon’s, but the Canon’s look different to the Panasonics which look different to the Sony’s.

Sony have a very long heritage in broadcast TV and that’s how their cameras look out of the box, like Rec-709 TV cameras with colors that are similar to the tube cameras they were producing 20 years ago. Sony’s broadcast color science is really very accurate – point one at a test chart such as a Chroma DuMonde and you’ll see highly repeatable, consistent and accurate color reproduction with all the vectors on a vector scope falling exactly where they should, including the skin tone line.

On the one hand this is great if you are that big multi-camera business wanting to add new cameras to old ones without problems, where you want your latest ENG or self-shooters cameras to have the same colors as your perhaps older studio cameras so that any video inserts into a studio show cut in and out smoothly with a consistent look.

But on the other hand it’s not so good if you are a one man band shooter that wants something that looks different. Plus accurate is not always “pretty” and you can’t get away from the fact that the pictures look like Rec-709 television pictures in a new world of digital cinematography where TV is perhaps seen as bad and the holy grail is now a very different kind of look that is more stylised and much less true to life.

So Sony have been a bit stuck. The standard look you get when you apply any of the standard off-the shelf S-Log3 or S-Log2 LUT’s will by design be based on the Sony color science of old, so you get the Sony look. Most edit and grading applications are using transforms for S-Log2/3 based on Sony’s old standard Rec-709 look to maintain this consistency of look. This isn’t a mistake. It’s by design, it’s a Sony camera so it’s supposed to look like other Sony cameras, not different.

But for many this isn’t what they want. They want a camera that looks different, perhaps the “film look” – whatever that is?

Recently we have seen two new cameras from Sony that out of the box look very different from all the others. Sony’s high end Venice camera and the lower cost FS5 MKII. The FS5 MKII in particular proves that it’s possible to have a very different look with Sony’s existing colour filters and sensors. The FS5 MK II has exactly the same sensor with exactly the same electronics as the MK I. The only difference is in the way the RGB data from the sensor is being processed and mixed together (determined by the different firmware in the Mk1 and mk2) to create the final output.

The sensors Sony manufacture and use are very good at capturing color. Sony sensors are found in cameras from many different manufacturers. The recording systems in the Sony cameras do a fine job of recording those colors as data within the files the camera records as data with different code values representing what the sensor saw. Take that data into almost any half decent grading software and you can change the way it looks by modifying the data values. In post production I can turn almost any color I want into any other color. It’s really up to us as to how we translate the code values in the files into the colors we see on the screen, especially when recording using Log or raw. A 3D LUT can change tones and hues very easily by shifting and modifying the code values. So really there is no reason why you have to have the Sony 709 look.

My Venice emulation LUT’s will make S-Log3 from an FS5 or FS7 look quite different to the old Sony Broadcast look. I also have LUT’s for Sony cameras that emulate different Fuji and Kodak film stocks, apply one of these and it really looks nothing like a Sony broadcast camera. Another alternative is to use a color managed workflow such as ACES which will attempt to make just about every camera on the market look the same applying the ACES film style look and highlight roll-off.

We have seen it time and time again where Sony footage has been graded well and it then becomes all but impossible to identify what camera shot it. If you have Netflix take a look at “The Crown” shot on Sony’s F55 (which has the same default Sony look as the FS5 MK1, FS7 etc). Most people find it hard to believe the Crown was shot with a Sony because it has not even the slightest hint of the old Sony broadcast look.

If you use default settings, standard LUT’s etc it will look like a Sony, it’s supposed to! But you have the freedom to choose from a vast range of alternative looks or better still create your own looks and styles with your own grading choices.

But for many this can prove tricky as often they will start with a standard Sony LUT or standard Sony transform. So the image they start with has the old Sony look. When you start to grade or adjust this it can sometimes look wrong because you have perhaps become used to the original Sony image and then anything else just doesn’t seem right, because it’s not what you are used to. In addition if you add a LUT and then grade, elements of the LUT’s look may be hard to remove, things like the highlight roll off will be hard baked into the material, so you need to do need to think carefully about how you use LUT’s. So try to break away from standard LUT’s. Try ACES or try some other starting point for your grade.

Going forward I think it is likely that we will see the new Venice look become standard across all of the Cinema style cameras from Sony, but it will take time for this to trickle down into all the grading and editing software that currently uses transforms for s-Log2/3 that are based on the old Sony Rec-709 broadcast look. But if you grade your footage for yourself you can create just about any look you want.

Black and White LUT set.

This was asked for on one of the online groups I follow. It’s a simple Black and White LUT that gives a wide dynamic range black and white image. The LUT has been designed to give a pleasing and gentle highlight roll-off with a reasonably contrasty mid range. I decided not to go too contrasty via the LUT so that more contrast can be added in post if needed. The output is legal range (broadcast safe). There is a single camera LUT for use in camera as well as a set of exposure compensated LUT’s going from -2 to plus 2 stops in half stop steps.

As always (to date at least) I offer these as a free download available by clicking at the bottom of the page. It takes time to create them and money to host them. I feel that this LUT set is worth $5.00 and would really appreciate that being paid if you find the LUT’s useful. But I will let you pay what you feel is fair, all contributions are greatly appreciated and it really does help keep this website up and running. If you can’t afford to pay, then just download the LUT’s and enjoy using them. If in the future you should choose to use them on a paying project, please remember where you got them and come back and make a contribution. More contributions means more LUT offerings in the future.

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

To make a contribution please use the drop down menu here, there are several contribution levels to choose from.


Your choice:



pixel Black and White LUT set.

Click here to download AC Black and White LUT’s V1

SEE ALSO:

Film Emulation LUT’s set 1.

Venice Look LUT’s V3 (lower contrast and minus green)

Venice Look LUT’s V1 (high contrast)

HLG HDR LUT for FS7, F5 and F55.

WYSIWYG LUT’s (Designed to be baked in)

Film Emulation LUT’s for S-Log3 and S-Log2.

I’ve uploaded these LUT’s before, but they are tucked away under a slightly obscure heading, so here they are again!

There are 4 different LUTs in this set. A basic 709 LUT which is really good for checking exposure etc. It won’t give the best image, but it’s really good for getting your exposure just right. Diffuse white should be 85%, middle grey 43% and skin tones 65-70%.

Then there are 3 film emulation LUT’s that mimic 3 different types of film stock form different manufacturers. These are primarily designed for post production or for use on a client monitor on set. My recommendation is to use the 709 LUT for your viewfinder and exposure and then add the film emulation LUT later in post.

As always (to date at least) I offer these as a free download available by clicking on the links below. However a lot of work goes into creating and hosting these. I feel that this LUT set is worth $25.00 and would really appreciate that being paid if you find the LUT’s useful. Try them before you decide then pay what you feel is fair. All contributions are greatly appreciated and it really does help keep this website up and running. If you can’t afford to pay, then just download the LUT’s and enjoy using them, tell your friends and send them here. If in the future you should choose to use them on a paying project, please remember where you got them and come back and make a contribution. More contributions means more LUT offerings in the future.

Download the S-Log3/SGamut3.cine to 709(800) and S709 Legal Input Range LUTS for external ProRes recorders.

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

To make a contribution please use the drop down menu here, there are several contribution levels to choose from.


Your choice:



pixel Film Emulation LUT's for S-Log3 and S-Log2.

New Venice Look LUT’s Version 3. Includes minus green LUTs. For FS5, FS7, F55, A7S, A7R.

I released my first version of the Venice Look LUT’s a few weeks ago and they have been a big hit. Overall most people seem to like them and get some great results. I’ve seen quite a few good looking videos produced using them.

I have received some feedback though that some people feel that the LUT’s may be crushing the blacks a bit too much for them, personally I think the deep shadows gives quite a film like look. However in response to that feedback I created an additional LUT set that keeps the blacks slightly higher. This can make grading a little easier, especially in FCP-X. You will find these new version 3 LUT’s here in the packages below – but please read on…..

While I was at it I also created another set of LUTs with a minus green offset. The idea behind these was that they can be used for material shot under lights with a green tint such as many LED or fluorescent light fixtures. Playing with these “-G1” LUT’s I have decided that I really like the slightly warmer and even less “Sony” look that these versions of the LUT’s give when shooting under “normal” lighting. So do please give them a try for a warmer look for skin tones both with LED/Fluorescent lighting and also with full spectrum lighting such as tungsten and sunlight.

Taking that a step further I have also included an even stronger minus green offset in a further -G2 set of LUT’s. So between the 3 sets of LUT’s offered in this download you should be able to find a set for most types of lighting with a variety of skin tone renditions.

Included in the LUT sets are LUTs for grading (with exposure offsets), LUT’s for Small HD monitors and the Zacuto Gratical. The grading LUT’s can also be used in other monitors and devices such as the Atomos recorder/monitors.

As always (to date at least) I offer these as a free download available by clicking on the links below. However a lot of work goes into creating and hosting these. I feel that this LUT set is worth $25.00 and would really appreciate that being paid if you find the LUT’s useful. But I will let you pay what you feel is fair, all contributions are greatly appreciated and it really does help keep this website up and running. If you can’t afford to pay, then just download the LUT’s and enjoy using them. If in the future you should choose to use them on a paying project, please remember where you got them and come back and make a contribution. More contributions means more LUT offerings in the future. I’m currently working on a couple of different film stock emulations based combined with the Venice look highlight rendition.

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

To make a contribution please use the drop down menu here, there are several contribution levels to choose from.


Your choice:



pixel New Venice Look LUT's Version 3. Includes minus green LUTs. For FS5, FS7, F55, A7S, A7R.

There are two different LUT sets. One set is for S-Log3 and S-Gamut3.cine. The other set is for S-Log2 and SGamut. Please only download what you need to save my bandwidth!

Typically if you are shooting with 8 bit, for example with an FS5 in UHD or an A7S, A7R etc, then I recommend you use S-Log2 with SGamut. For most other cameras that have 10 bit recording then I recommend S-Log3 and SGamut3.cine.

Here are the links to my Venice Look Version 3 LUT’s. Including the minus green offset LUTs. Make sure you choose the right version and once you have downloaded them please read the README file included within the package.

Alister V-Look V3 LUT’s S-Log2/SGamut

Alister V-Look V3 LUT’s S-Log3/SGamut3.cine

I got a request for a set of Rec-709 Venice Look LUT’s – So here they are. I’m not expecting miracles from these, you will be starting with a much reduced dynamic range by shooting with Rec-709, but try them if you wish. I make no promises as to how well they will or will not work!

Alister Venice Look for Rec709

 

 

Venice Look LUT’s For 14 stop cameras A7, FS5, FS7, F5, F55 etc.

Hello all. So after numerous problems for some people trying to download the official Sony s709 LUT for Venice, I decided to create my own Venice Look LUT’s. These LUT’s have been created using image matching techniques plus some small tweaks and adjustments to make the LUT’s work well with the 14 stop cameras.

Venice is a 15 stop camera with a new sensor and as a result the official s709 LUT’s are not quite right for the current 14 stop cameras like the FS5, PMW-F55, FS7 and even the A7 series. So the LUT that I have created is slightly different to allow for this.

The end result is a LUT that gets you really close to the way Venice looks. It won’t magically turn your FS5 into a Venice, there is something very, very nice about the way Venice handles the extremes of it’s dynamic range, plus Venice has Sony’s best colour filters (similar to the F55 and F65). So Venice will always be that one very nice step up. But these LUT’s should get you close to the default Venice 709 look. This LUT should NOT be used with Venice as it this LUT is restricted to 14 stops.

Of course do remember that the default look and indeed the official s709 LUT was designed as a first pass look. An instant viewing output for a DIT or for on set viewing. It is not really meant to be the final finished look. It would be normal to grade the Venice material, perhaps from scratch rather than using the s709 LUT for the final output. But, s709 is what comes out of the cameras SDI connectors if you use the default LUT/Look. This is what this LUT set mimics, with some tweaks for the lower cost cameras.

This is one of the largest and most comprehensive LUT sets I have ever created. There are versions designed specifically for grading in Resolve or other grading suites. The bulk of the LUT’s are designed to be used with S-Log3 and SGamut3.cine. There are monitoring versions with offsets for use in monitors such as the Atomos range. I have created a set with offsets for both the Zacuto and Small HD viewfinders and monitors and finally I have also created sets of LUT’s for use with S-Log2 so users of the original A7s or those that wish to shoot with S-Log2 on an 8 bit camera are not left out.

The LUT’s work best with the PMW-F55 as this has the closest native color to the Venice camera, but I think they work really well on the rest of the Sony range.

If you find the LUT’S useful, please consider buying me a beer or a coffee using the “Buy Now” button below. There are different drink options depending on what you feel is fair, it takes time to prepare these and there are costs associated with hosting the files. I’m not paid to run this website and every little bit helps and is greatly appreciated.

If you don’t wish to buy me a coffee, that’s cool. But please don’t host the files elsewhere. Feel free to link back here and share the link, but please don’t distribute these anywhere else.

Here’s the link to the zip file containing the my Venice Look LUT set:

Click Here to download Alister’s Venice Look LUTs V2

If you are new to XDCAM-USER.COM please take a look around at the various tutorials, guides, tips and tricks that are hosted here. Click on the green search button at the top right to open a search window or follow the links in the drop down menus at the top of the page. Thanks for visiting!

Sony Venice LUT.

Sony’s new Rec-709 style LUT for the Venice camera is now available. This Lut was designed to work with the Venice camera to provide a new film like look with beautiful highlight roll-off.  In it’s current form it only works with S-Log3/S-Gamut3.cine material, although you could use the excellent LUTCalc app to create different versions.

Although designed for Venice the LUT works really well with footage from the FS5, FS7, F5 and F55 etc.

You can download the base LUT from here until the end of July. https://dmpce.cimediacloud.com/mediaboxes/8374a677e6224da2a170bd841f64302d

Beware the LC709 LUT double exposure offset.

The use o f the LC709 Type A LUT in Sony’s Cinealta cameras such as the PXW-FS7 or PMW-F55 is very common. This LUT is popular because it was designed to mimic the Arri cameras when in their Rec-709 mode. But before rushing out to use this LUT and any of the other LC709 series of LUT’s there are some things to consider.

The Arri cameras are rarely used in Rec-709 mode for anything other than quick turn around TV. You certainly wouldn’t normally record this for any feature or drama productions. It isn’t the “Arri Look” The Arri look normally comes as a result of shooting using Arri’s LogC and then grading that to get the look you want. The reason it exists is to provide a viewable image on set. It has more contrast than LogC and uses Rec 709 color primaries so the colors look right, but it isn’t Rec-709. It squeezes almost all of the cameras capture range into a something that can be viewed on a 709 monitor so it looks quite flat.

Because a very large dynamic range is being squeezed into a range suitable to be viewed on a regular, standard dynamic range monitor the white level is much reduced compared to regular Rec-709. In fact, white (such as a white piece of paper) should be exposed at around 70%. Skin tones should be exposed at around 55-60%.

If you are shooting S-Log on a Sony camera and using this LUT to monitor, if you were to expose using conventional levels, white at 85-90% skin tones at 65-70%, then you will be offsetting your exposure by around +1.5 stops. On it’s own this isn’t typically going to be a problem. In fact I often come across people that tell me that they always shoot at the cameras native EI using this LUT and get great, low noise pictures. When I dig a little deeper I often find that they are exposing white at 85% via the LC709 LUT. So in reality they are actually shooting with an exposure the equivalent of +1 to +1.5 stops over the base level.

Where you can really run into problems is when you have already added an exposure offset. Perhaps you are shooting on an FS7 where the native ISO is 2000 ISO and using an EI of 800. This is a little over a +1 stop exposure offset. Then if you use one of the LC709 LUT’s and expose the LUT so white is at 90% and skin tones at 70% you are adding another +1.5 stops to the exposure, so your total exposure offset is approaching 3 stops. This large an offset is rarely necessary and can be tricky to deal with in post. It’s also going to impact your highlight range.

So just be aware that different LUT’s require different white and grey levels and make sure you are exposing the LUT at it’s correct level so that you are not adding an additional offset to your desired exposure.