Tag Archives: Luts

New LUTs from Sony

Side-by-Side2_small-600x338 New LUTs from Sony

 

I was asked by Sony to produce a couple of new LUT’s for them. These LUT’s were inspired by many recent blockbuster movies and have been named “Space Adventure” and “Super Hero”.

Both LUT’s are available for free and there is a link on the page linked below that will allow you to obtain them.

Rather than explain the two different looks here go to this page on the Sony website https://pro.sony/en_GB/filmmaking/filmmaking-solutions/full-frame-cinematic-look

Scroll down to where it says “Stunning Cinematic Colour” and there you will find a video called “Orlaith” that shows both LUT’s applied to the same footage.

Orlaith is a gaelic name  and it is pronounced “orla”. It is the name of a mythical golden princess. The short film was shot on a teeny-tiny budget in a single evening with an FX3 and FX6 using S-Log3 and SGamut3.cine. Then the LUTs were applied directly to the footage with no further grading.




 

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.

 

Changing the FX6’s base look in Custom Mode using LUT’s

This is extremely cool! You can change the FX6’s base look in custom mode using LUTs. This is not the same as baking in a LUT in Cine EI as in custom mode you can change the gain or ISO just as you would with any other gamma. But there’s more than that – you can even adjust the look of the LUT by changing the detail settings, black level, matrix and multi-matrix. Watch the video to see how it’s done.


The LUT’s used in the video can be downloaded from here. http://www.xdcam-user.com/2014/11/new-film-look-luts-for-the-pxw-fs7-pmw-f5-and-pmw-f55/

Or from here: https://pro.sony/en_SC/technology/alister-chapman-blockbuster-lut-v2

Are LUT’s Killing Creativity And Eroding Skills?

I see this all the time “which LUT should I use to get this look” or “I like that, which LUT did you use”. Don’t get me wrong, I use LUT’s and they are a very useful tool, but the now almost default reversion to adding a LUT to log and raw material is killing creativity.

In my distant past I worked in and helped run  a very well known post production facilities company. There were two high end editing and grading suites and many of the clients came to us because we could work to the highest standards of the day and from the clients description create the look they wanted with  the controls on the equipment we had. This was a digibeta tape to tape facility that also had a Matrox Digisuite and some other tools, but nothing like what can be done with the free version of DaVinci Resolve today.

But the thing is we didn’t have LUT’s. We had knobs, dials and switches. We had to understand how to use the tools that we had to get to where the client wanted to be. As a result every project would have a unique look.

Today the software available to us is incredibly powerful and a tiny fraction of the cost of the gear we had back then. What you can do in post today is almost limitless. Cameras are better than ever, so there is no excuse for not being able to create all kinds of different looks across your projects or even within a single project to create different moods for different scenes. But sadly that’s not what is happening.

You have to ask why? Why does every YouTube short look like every other one? A big part is automated workflows, for example FCPX that automatically applies a default LUT to log footage. Another is the belief that LUT’s are how you grade, and then everyone using the same few LUT’s on everything they shoot.

This creates two issues.

1: Everything looks the same – BORING!!!!

2: People are not learning how to grade and don’t understand how to work with colour and contrast – because it’s easier to “slap on a LUT”.

How many of the “slap on a LUT’ clan realise that LUT’s are camera and exposure specific, how many realise that LUT’s can introduce banding and other image artefacts into footage that might otherwise be pristine?

If LUT’s didn’t exist people would have to learn how to grade. And when I say “grade” I don’t mean a few tweaks to the contrast, brightness and colour wheels. I mean taking individual hues and tones and changing them in isolation. For example separating skin tones from the rest of the scene so they can be made to look one way while the rest of the scene is treated differently. People would need to learn how to create colour contrast as well as brightness contrast. How to make highlights roll off in a pleasing way, all those things that go into creating great looking images from log or raw footage.

Then, perhaps, because people are doing their own grading they would start to better understand colour, gamma, contrast etc, etc. Most importantly because the look created will be their look, from scratch, it would be unique. Different projects from different people would actually look different again instead of each being a clone of someone else’s work.

LUT’s are a useful tool, especially on set for an approximation of how something could look. But in post production they restrict creativity and many people have no idea of how to grade and how they can manipulate their material.

New s709 LUT For The FX6 and 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.


Your choice:



pixel New s709 LUT For The FX6 and FX9 That's Less Green Than The Sony LUT.

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

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.

Click here for the Slog3_cine-film-look-luts

Click here for the S-Log2  filmic look luts – Alisters A7S Filmic LUTS set1

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 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.

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