New LUT – Chess

Here’s a new LUT for you, inspired by a the look of the Netfix show “the Queen’s Gambit. I’ve called the LUT “Chess”. It’s designed for use with S-Log3 and SGamut3.cine and I think it works really well with most Sony S-Log3 capable cameras including the FX6, FX9, FS7, FS5, F5 and F55 etc. As well as Sony’s video cameras it will also work with the A7SIII and other Sony Alpha cameras.

In the download you will find 2 LUTs. The 65x version is for post production and grading, the 33x version is for use as a camera LUT.  While I have aimed to replicate much of the look of the TV series it must be noted that grading is only a small part of the look. Set design, the colour of the sets and costume also play a significant roll.

s709-look-new_1.1.12-1024x576 New LUT - Chess
S-Log3 to s709 Standard look.
Chess-Look-new_1.1.11-1024x576 New LUT - Chess
S-Log3 to Chess Look LUT
s709-look-2_1.2.2-1024x576 New LUT - Chess
S-Log3 to s709
new-chess-look2_1.2.1-1024x576 New LUT - Chess
S-Log3 ro Chess look LUT

If you find this LUT useful please consider buying me a cocktail or other beverage. Thank you! It does take a while to develop these LUT’s and contributions are a good incentive for me to create more!


Your choice:

Click Here to Download the Chess LUT


You can use this LUT as a camera LUT or for grading. If you are using the Sony FX6 you can use this LUT in Custom Mode as a Base Look. For more information on how to do that please watch the video below.


460x150_xdcam_150dpi New LUT - Chess

7 thoughts on “New LUT – Chess”

  1. Looks cool! Curious if you have any Slog2 to REC709 LUTS for ProResRAW (for Sony Fs5ii) ? Would this codec be different then using such a LUT with any other codecs?

    1. While the FS5/FS7 do need to be set to S-Log2 so that the raw output is correctly formatted you can convert the ProResRaw to S-Log3 instead of S-Log2 in post production and then apply any of my LUTs designed for S-Log3.

      1. that would be great… I’m just trying to find the best workflow using Premiere and this new codec for me is a little tricky. How would I convert the profile using premiere? I have been shooting 2 stops over and that helps with the noise in shadows and still retains the highlights when corrected ( when shooting I make sure no highlights are clipping in histogram). When I bring the clip into premiere, under the master clip tab in the effects panel, I first use the exposure correction option which I bring down usually by 2 stops and that is where I start before adding contrast, curve, and saturation etc in Lumetri color.

        Basically my LUTs for SLOG2 to REC709 aren’t looking good and are way over saturated and too much contrast while using this codec. Any help or words of wisdom would be greatly appreciated!

        1. The ProRes Raw workflow in Premiere is very poor and I don’t really recommend it. By default the raw is converted to Rec-709 so you can’t use LUT’s designed for S-Log unless you add another LUT first to convert from 709 to S-Log3. But using multiple LUT’s or conversions is really not a good idea as LUT’s will introduce artefacts such as banding.

          1. Adobe products also seem to downscale 12 bits to 10bits when converting ProRes RAW to Prores 444, at least that is what Media Encoder does when the output file is checked using MediaInfo. The color space is also transformed to rec.709 in the transcoding process. And they call that Prores RAW support ! It just corrupts Prores RAW which becomes unusable because of the twisted color space. For a proper conversion tool on PC, look for Assimilate Scratch or the less featured and less expensive Play Pro.

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