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The problem with Sony cameras has always been their colours - they have tremendous dynamic range when shooting S Log 2 & 3 and a host of other fantastic features but in order to unlock the full potential out of my Sony Cameras, I needed to fix the colour.
Each LUT comes with Slog2 and Slog3 Versions.
These LUTs will ensure your highlights roll off smoothly, and gracefully like Film/Alexa and your shadows will be rich and filmic - while still maintaining detail. They are super easy to use and will help you get that cinematic look you’re looking for.
This LUT pack was developed alongside Joel’s ARRI Amira over hundreds of hours of testing and side by side comparison footage. As well as the ‘Neutral’ LUT which emulates ARRI’s Rec709 LUT, there are 4 other stylised LUTs included.
LUT 1) Neutral - A neutral ARRI look - no colour cast or 'look' - just the classic ARRI Rec709 look developed for my Fs7 alongside my ARRI Amira.
LUT 2) Tungsten - A slightly warmer golden cast designed to be utilised for subjects bathed in tungsten light.
LUT 3) Ice Blue - Blue, colder cast with punchy, deep blues (looks amazing on subjects with blue eyes).
LUT 4) Jamaica - Green and gold cast - distinctive, rich, filmic greens and beautiful golden skintones.
LUT 5) Utopia - the most filmic look of the LUTs, with blood red reds and filmic blues and greens. It’s my personal take on what Utopia would look like.
The ‘Film Look’ LUT Pack contains 6 LUTs inspired by real film stocks designed to give your S-LOG Footage the Film Look. The emulations are based on my own research and subjective impressions of the film stocks listed.
Shot on: The Matrix, Lord of the Rings Trilogy, Gladiator
The most colour accurate stock with accurate blues, slightly cool greens, accurate skin tones which slightly skew pink/gold
Strong contrast and filmic subtractive colour model in saturation
Gentle roll off and rich, smooth fall off in shadows
Skews green in shadow areas and when underexposed
Classic film character but less stylised than any other stock
LUT 2) ‘Eastman’ - Modelled on Kodak Eastman 5247
Shot on: Apocalypse Now, Bladerunner, Alien, ET
Vintage, dated Kodak look and feel.
Saturation strongest in mids and falls off in shadows and highlights.
Greens skew warm, blues slightly turquoise, gold/pink skin-tones.
Smoother contrast than modern stocks.
LUT3) ‘Eastman RM’ - Variation on Kodak Eastman 5247 (Introduced Jan 2022)
Classic Eastman Look but modernised (Orange & Teal)
Greener in cast than the more magenta original Eastman 5247
Modelled on the Re-Graded versions of classic films from 70s & 80s
LUT 4) ‘Vision Teal’ - Variation on Kodak Vision 5274 (LUT# 1)
Subtle Orange/Teal colour scheme.
More stylised version of ‘#1 Vision’. Less realistic - ‘prettier’.
Greens are slightly warmer, blues slightly turquoise and skin more golden.
Overall lift in saturation and contrast compared to ‘Vision’ but still balanced.
Can elevate a dull scene with its look but not overpower a rich scene.
LUT 5) ‘Eterna’ - Modelled on Fuji Eterna 8563
Shot on: Captain Phillips, Wall Street: Money Never Sleeps, The Butler
Overall smoother contrast and rolloff compared to Kodak.
Rich but not overpowering colours and saturation characteristics.
My go-to for Fashion and Beauty but can work with almost anything.
Very flattering skin-tones.
Greens are cool and rich, skin is golden, blues skew turquoise and modern, colour accurate yellows compared to Kodak.
LUT 6) ‘Bleach’ - Modelled on Fujifilm Super F 8552
Shot on: Munich, War of The Worlds, Crash
Modelling the Bleach Bypass process for strong contrast and low saturation.
Aggressive, gritty look - halfway between black and white and colour film.
Great for War Films, Crime, Urban Fashion.
Works especially well with heavy film grain.
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