New Venice Look LUT’s Version 3. Includes minus green LUTs. For FX9, FX6, 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 FX9, FX6, 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.

300x250_xdcam_150dpi New Venice Look LUT's Version 3. Includes minus green LUTs. For FX9, FX6, FS5, FS7, F55, A7S, A7R.

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

33 thoughts on “New Venice Look LUT’s Version 3. Includes minus green LUTs. For FX9, FX6, FS5, FS7, F55, A7S, A7R.”

  1. Dear Alister,

    I read your articles very often and I do find them very helpful.

    I just wonder how to install these LUTs on the FS5 and A7S? I would like to have a go but I am not sure how to install them.

    Many thanks


    1. You can not install them in any of the Alpha cameras or the FS5 as these cameras do not have any internal LUT capability. Instead you shoot with S-Log2 (or S-Log3) and add the LUT in post production.

  2. Dear Alister,
    I met you at IBC a week ago at Sony. It was nice to meet you. You told me about these LUTS and thank you for that. They are great! I was wondering if I can also find the Blockbuster Type1 and Fujish1 LUT somewhere over here? Or are these your personal LUTS?
    Many thanks,

  3. Yours is are one of the best sights, for solid tech and creative sources of information
    that I need to better understand. You are the left/right brain master!

    Thank You So Much!


  4. Allister, I use a Flanders DM170 monitor & load LUTs into there for viewing. Should I be using one of the certain monitor LUTs you have included in your Venice Look pack? Do I have to use a LUT that is specific to a Flanders? Thank you

      1. Thank you Alister. And I just noticed I accidentally had an extra “l” when I typed your name previously. My bad!

  5. Hi,

    I just downloaded the s-log3-LUTs to test them for baking in with my FS7. In the V3/camera and -G2/camera folders there are several offset LUTs. However, in the -G1/camera folder there is only the Native LUT. Is there a reason for this?

    1. Because in the camera you don’t want an offset LUT. The camera adds the offset though the EI function.

  6. Hi Alister.

    I’m using a Shogun Inferno and I want to use these luts to gauge exposure. I’ve tried both the grading ones, plus the Gratical and Small HD monitor luts, and they all seem to act a little different in the monitor.

    I realize that’s probably intentional but just wanted to hear your opinion on which LUT would be best suited for the Inferno?

    Thanks in advance.

  7. Hi Allister, I’m a big fan of your Venice LUT with the FS7. I find myself using the Ursa Mini Pro a lot these days and was wondering if there was a chance that you make one specifically for that camera? That would be amazing and wouldn’t mind having to pay for it.

    All the best

  8. Thank you very much Alister! How can I convert the 3D LUTS to .ltd files for regular monitor LUT vs 3D LUT? As I would like to use the SLOG 2 LUTS for exposure but the USER 3D LUT does not work in SLOG2 mode on the FS7. Thank you for your help!

    As per the manual
    “The monitor 3D LUT function cannot be used if Base Setting
    >Color Space is set to S-Gamut/S-Log2 in the System menu
    on the camcorder.”

  9. Hello Alister,

    Thank you very much for these LUTs! I was wondering, how can I convert the SLOG2 LUTs to .LTD instead of .CUBE so it can be a monitor LUT on the FS7? I noticed 3D LUTs only work in SLOG3 so I was going to replace the 1-6 slots in regular LUT with SLOG 2 LUTs. Thank you for any help!

    1. My understanding is that the .LTD LUT’s are 1D LUTs. So they cannot do any colour changes beyond a crude white balance type adjustment. So there is no point in converting the Venice LUT to a .LTD LUT as the big difference is in the colour handling and a 1D lut can’t do that.

  10. Hi Alister!
    On my SmallHD monitor in the LUT section I have the option of full or legal range. Shooting on an FS5 Slog3 with SDI input, do you know what I should set it to?

    Many thanks

  11. Hi there. Sorry if this is posted twice, the site never shows my post going live.

    I wanted to use your LUT for smallHD Monitors from this article, but if I am giving my footage to a post house, would I give them the LUT from grading folder rather then the SmallHD LUT I am using on my monitor?


  12. Hi Alister,

    Pretty new to using LUTs so I wanted to make sure I was doing everything right (im probably not!). When I apply the LUT to my final cut videos I find I usually have to drop the mix to the 30-50% range. When I apply the LUT at the full 100% the clip looks overly saturated and contrasty. Is this normal to have to drop the mix a bit? I’m probably doing something wrong. Thanks in advance.

  13. Alister – thank you for your ongoing support in this area. I just bought the Venice V3 set and have been using little bits of your guidance for over a year now.

    With either EI2000 or EI1000, what do you recommend for exposure on the F5 using Venice V3 – slog3 and sgammut3/cine?

    It SEEMS from some very basic tests that exposing as normal for Rec709 or about 1/3 stop under (so skin tones 60-65) is about right. But if you have an optimum value for white, middle grey and skin then that would be great. Many thanks! Tim

    1. Base exposure for skintones if measuring the Venice V3 lut would be skintones at between 55-60%. So if you have skin tones at 60-65 that is a touch above base. White should be about 75%, middle grey about 43% which gives a nominal 59% for skin tones.

  14. Hi Alister,

    Thanks so much for all your amazing work. I have a question, maybe it’s a stupid one so forgive me if so, but in what situation would you use the S-Log2 +2 offset LUT, or any of the + offsets? Surely that would mean you’re underexposing your S-Log 2 by 2 stops and would get an awful image? Am I missing something obvious?


  15. Alister! These LUTs are splendid. Perfectly working for grading my A7III footage. Thank you so much!
    I downloaded and tested them in Adobe Premiere and they are perfect as conversion LUTs.
    Donation is out! 😉

  16. Hey Alister, I’m using your V3 Venice Luts on my Sony a7siii and loving them. I did have a quick question though. I’m monitoring through an atomos shinobi field monitor, and I was wondering which monitoring luts I should be using with that brand? If you could provide some guidance I would be forever grateful!

    1. Atomos require legal range input 3D cube LUT’s, these are different form the normal camera and grading LUT’s.

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