The LUTs you mentioned are the only ones I have found so far. Would love to know some others. Roses wrote: Charles Hull wrote: I'm looking for the best LUTs for the A7RII Slog2 profile. Right now I'd like a good video look, not a film look, with a LUT that gets close enough to minimize color editing. And something that gives good editing control at the top and bottom ends.

1. Sony A7s Lut Davinci

Most shots taken on the sony 28mm f2. Few were also taken with a Nikon adapter and 50mm 1.8. Re: input LUT for Sony S-Log missing Kevin-Monahan Mar 2, 2017 10:17 AM ( in response to R Neil Haugen ) If you didn't find the answer, as some of the specific LUT's for some of the camera models were problematic for many users, they didn't include some of the ones that people had issues with in this release. I’ll put the first part of my evolving Sony A7S review up on Monday so stay tuned. How to apply the EOSHD LUTs In Adobe Premiere Pro CC you use the Video Effect “Lumetri”, this will ask for the LUT file of your choice which you navigate to and select.

The dynamic range of Slog2 is so good I hate to try something else, but it could be that this same high dynamic range with 8 bit video makes it almost impossible to have a LUT with high color precision. So I'll probably plunk down $19.99 and see how it performs. I did buy the EOSHD Sony A7RII Setup Guide and LUT Pack. The setup guide is thorough and step by step, making it easy to optimize the camera for shooting video.

Set of 20 Cube LUT’s for the Sony A7S. August 16, 2014 alisterchapman 45 Comments. I’ve been doing a lot of work on shooting SLog-2 with the A7s. I realised almost straight away that a set of LUT’s for this camera would really help speed up my grading and testing. I really like the A7S_709800_1over and 2over LUT because they give me a.

Going into this, there were a few key items that I was hoping to test – Dynamic range, highlight rolloff, and color accuracy. With minimal time to do this test shoot, I decided to limit the test to only two main shots that would hopefully shed some light on each of the elements I was curious about. Let’s take a look at the first set of images below – S-LOG 3 – RAW S-LOG 3 – LUT S-LOG 3 – LUT + CONTRAST ADJUSTMENT V-LOG – RAW V-LOG – LUT V-LOG – LUT + CONTRAST ADJUSTMENT The first and most obvious thing I noticed with this shot was the banding, which is particularly problematic in the GH4 footage. The A7S II clearly has some banding issues in the sky, but the GH4’s banding is much more severe. The GH4’s transition from exposed to over-exposed luminance in the sky leaves us with a very strange looking, rainbow shaped arc that is very noticeable – even to the untrained eye. Granted, both of these cameras would likely perform better if they were recorded to a higher quality codec (such as ProRes) using an external recorder But I would guess the GH4 would still have less organic highlight rolloff, even if the banding is not as severe. Now, take a look at the second set of images below – S-LOG 3 – RAW S-LOG 3 – LUT S-LOG 3 – LUT + CONTRAST ADJUSTMENT V-LOG – RAW V-LOG – LUT V-LOG – LUT + CONTRAST ADJUSTMENT The idea with this shot was to capture a high dynamic range situation that would show the differences in latitude between the two cameras, and in this department the A7S II once again came out on top.

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Canon had a Log curve on their, but at a price of $10,000, it is out of reach for most of us. And now that it is available at a lower price point, many people are faced with the difficulties associated with grading S-Log footage. Anyone who’s done it knows that the process could be quite overwhelming, especially for people who don’t have much experience with colour grading.

With the implementation of the S-Log2 profile in the, Sony has finally fulfilled one of the highest demands of professional shooters and enthusiasts alike for enhanced control over the image in an affordable package. Usually, a flat, Log curve would be present in much higher level cameras like the F5/F55/and more recently the.

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To find this click Settings and go to Lookup Tables. Click “Open LUT folder” and dump the files here.

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709(800) = Output gamma or style. ZERO = Exposure off set. The exposure offset refers to the number of stops the footage is over exposed by relative to the normal SLog2 exposure level of Middle Grey at 32% and 90% white at 59%. ZERO menas no exposure offset. 1STOP would be used when the SLog2 was exposed 1STOP over and in this case the LUT then shifts the exposure back down 1 stop to compensate. 709 = Vanilla Rec-709, very contrasty, but limited highlight response and hard clip of over exposure. 709(800) = Rec-709 gamma with 800% (high) dynamic range.

When I first applied the LUTs to each shot, they didn’t look all that different – in particular the window in the background was blown out on both shots. But when I used Resolve to reduce the highlights and adjust the contrast of each image, the A7S II footage clearly had more information in the highlights, while the GH4 had clipped completely. The difference is somewhat apparent in the images above, but much more obvious when actually working with the footage in Resolve. This was of course no surprise as the A7S II sensor can supposedly capture 2 more stops of DR than the GH4, which tops out at about 12 stops. What this test also revealed to me though, was the fact that neither camera produces great colors in Log mode. Don’t get me wrong, you can certainly capture beautiful images on both cameras and color grade them to look really great But right off of the camera, using nothing more than a LUT on the Log footage, neither camera delivers perfect results in the color department. The GH4 tends to be a bit too saturated and punchy for my taste, and skin tones often look flat and green-ish.

I had a chance to shoot some footage with my Sony A7s using S-Log2 (Profile 7). I wanted to see how quickly I could color grade the footage (I just wanted to get it close) by using different LUTS and minor adjustments in Adobe Premiere’s Lumetri panel. I used the S-Log2 to Rec 709 with 800% high dynamic range, 1 stop over created by (AC_A7S __709800_1over.cube ). This matched my exposure settings and I also thought it looked the best in terms of bringing the shot into range. As you can see the face tones are a little on the red side.

Even after attempting to reduce the contrast on the Cine-D footage, the information just wasn’t there in the highlights, and it was clear right away that the V-Log footage was able to actually capture a significant amount of additional latitude. In the future, I’ll be sure to do some more V-Log/S-Log tests and will post the results on the site. In particular, I’d like to try to push V-Log in a low light scenario, and see just how noisy it will get when pushed to the limits. For now, please share your thoughts or feedback in the comments below.

Charles Hull wrote: Promit wrote: EosHD is offering some profiles: Flat but not based on S-Log. Haven't tried them myself. I saw that, but haven't tried it yet.

Two things worth noting are: I am still on Firmware v2.4 OS Language is set to German (my native Language) Help, please:/ Thanks! Being in the fitness field, we figured all our clients and brand ambassadors are all like Super Heroes, so we branched out to design our own costumes as a bit of something extra!

Hi, i am having the strangest issue with my A7SII and i wanted to ask you guys if i am overlooking something or if Sony actually made a huge mistake here: Last Week i took the time to go through every Container/Codec Combination the A7SIi offers and wrote down the estimated Time the Camera tells me i can record on a freshly formatted 64GB SD Card. Here are my results: (I gave (nearly) matching times the same font color) XAVCS 4K 25p 100M 1h21m 25p 60M 2h11m XAVCS HD 50p 50M 2h39m 25p 50M 2h39m 100p 100M 1h21m 100p 60M 2h11m AVCHD 50i 24M(FX) 6h12m 50i 17M(FH) 8h29m 50p 28M(PS) 5h16m 25p 24M(FX) 6h12m 25p 17M(FH) 8h29m MP4 1920x1080 50p 28M 5h32m 1920x1080 25p 16M 8h39m 1280x720 25p 6M 22h36m Notice, how 25p 100M XAVCS 4k and 100p 60M XAVCS HD have the same time? I understand that, because 4K is four times as big as 1080p, so with the same bitrate i could get four times as many frames in a second and two clips with the same length should take the same space on my SD Card. I also understand AVCHD 50i 24M vs. 25p 24M: Two half-frames should take the same space as one Full-Frame. What i do NOT understand however is XAVCS HD 50p 50M vs.

Filmic2 = Extended range low contrast gamma with very good over exposure handling. Slightly de-saturated. Good grading start point.

Hi, i am having the strangest issue with my A7SII and i wanted to ask you guys if i am overlooking something or if Sony actually made a huge mistake here: Last Week i took the time to go through every Container/Codec Combination the A7SIi offers and wrote down the estimated Time the Camera tells me i can record on a freshly formatted 64GB SD Card. Here are my results: (I gave (nearly) matching times the same font color) XAVCS 4K 25p 100M 1h21m 25p 60M 2h11m XAVCS HD 50p 50M 2h39m 25p 50M 2h39m 100p 100M 1h21m 100p 60M 2h11m AVCHD 50i 24M(FX) 6h12m 50i 17M(FH) 8h29m 50p 28M(PS) 5h16m 25p 24M(FX) 6h12m 25p 17M(FH) 8h29m MP4 1920x1080 50p 28M 5h32m 1920x1080 25p 16M 8h39m 1280x720 25p 6M 22h36m Notice, how 25p 100M XAVCS 4k and 100p 60M XAVCS HD have the same time? I understand that, because 4K is four times as big as 1080p, so with the same bitrate i could get four times as many frames in a second and two clips with the same length should take the same space on my SD Card. I also understand AVCHD 50i 24M vs.

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Looking at my waveform monitor, it jumps everything up like 20 or 30 values on the IRE scale. However, if I use your LUT as an Input LUT in the basic corrections panel, this is not a problem. The only problem with doing that is there is no way to control the gain of the LUT, it seems stuck at 100% unless there is a way to work around this. I really like the A7S_709800_1over and 2over LUT because they give me a super accurate color space to begin grading from. Excellent work man. However, if I can’t control luminance and hue etc, it is going to be useless for me.

Right now I'd like a good video look, not a film look, with a LUT that gets close enough to minimize color editing. And something that gives good editing control at the top and bottom ends. So far I get the best results with Alister Chapman's basic AC_A7S_709_.cube or his AC_A7S_709800.cube.

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Sony A7s Lut Davinci

The colors in the face were also just a bit more saturated than what I wanted, so I applied a creative look (Kodak 5218 Kodak 2383) to see how that would effect the image before making any further adjustments. In the last frame in the series below I brought the shadows and highlights down just a bit and sharpened. Download game sepak bola ps2. This process can happen pretty quickly and the key is getting the exposure right and selecting the right input LUT. From there your options are pretty endless in terms of adjustments you can make, looks you can apply and more.

1/50 for fast handheld camera movements is much too blurry for my liking. I am still experimenting with fine tuning the S-LOG 2 profile in-camera, where a full suit of options from Sony’s pro video cameras is offered. By default colour mode is set to S-GAMUT when shooting S-LOG but I find that reds have a bias towards purple in this mode regardless of white balance. When set to 709 Matrix the reds are no longer purple but I have a suspicion that colour overall looks more cinematic when using the S-GAMUT setting and I can compensate for the hue shift in my LUT. Here is the same shot recorded in both S-GAMUT and 709 Matrix mode, with the same LUT applied and no compensation for the hue shift. Above: S-LOG shot in 709 Matrix (top) vs S-LOG shot in S-GAMUT colour mode (bottom). To the eye the flowers were red not purple.