Moody LUT Pack 30 Unique Film LUTs Bounce Color. Brighton Beach and Blue Skies - Sony SLOG2/3. In my tests so far, the F65 LUT from Sony for Slog2+SGamut to Slog2+Rec709 appears to be working OK for skin tones. Using Resolve 11 with the above LUTs it's possible to get some pretty impressive looking color and skin tones with SLog2 and SGamut.

This website has a great feature. Misery signals full album rare. If you look up in the top left corner of every page you will see a small magnifying glass symbol. If you click on that it will allow you to search the entire site for information and there’s lots and lots of hint, tips and guides going back many years. One thing though that a lot of people keep asking about is LUT’s or Look Up Tables. I have lots and they are all (for the moment at least) provided for free.

There will be some paid LUT sets coming soon. If you follow the link below you will get a single page that lists all the current LUT articles on the web site. Links to my free LUT sets will be included in these articles.

Remember that LUT’s for S-Log2 and S-Log3 can be used in any camera with S-Log2 or S-Log3. So a LUT for the FS7 can also be used in the FS5 for example. From time to time I struggle with color correcting (not grading) S-Log3 in Adobe Premiere Pro using Lumetri. I have DaVinci Resolve but prefer to streamline my workflow and deal with everything within the Adobe Suite. The native integration between Suite applications really is brilliant and ahead of FCP and MC. That being said, I really struggle with mixed lighting scenes shot on my FS7 in Cine EI mode S-Log3/S-Gamut3 when I can’t control the color temp of all the lighting. After white balancing the Lumetri filter to my Macbeth chart I find myself having to place multiple Lumetri secondary color corrections to reduce green tint on blue walls, reduce magenta tint on yellow hard wood floors and save a respectable flesh tone for the fleshy bits.

I generally overexpose my log footage using the 709(800) MLUT by 1 stop and use your LUT – Slog3-709800_1OVER.cube and tweak from there. I have used other LUTs but keep coming back to yours. When correcting mixed light low contrast footage using curves instead the flesh tones (middle grey) become milky. They lack contrast. I learned only several weeks ago from one of your posts that I should exposure correct FIRST in a separate Lumetri effect.

Then CC below that effect. This instead of trying to do it all in one effect. I hadn’t been told that before. Is this common knowledge and I have been living under a rock? Anyway, when I Lumetri exposure correct then Lumetri color correct below that in the stack the low contrast middle greys look better but still not brilliant. Sometimes I can’t get much detail in the flesh tones at all.

And when I push the exposure of something in the scene I know is bright white to 90 IRE it blooms (old CRT reference). I have watched multiple YouTube workflows on working with S-Log3 but nothing that illustrates what I am experiencing and most of their footage is outdoor daylight scenes with plenty of contrast. Can you point me to a specific “Working with S-Log3 and Lumetri workflow” that deals with milky flesh tones? Side note: I found your Exposing S-Log tutorial indispensable long ago.

I keep a copy in my camera case and review it from time to time. Thanks for any help. I’ll certainly buy you a drink as I have in the past.

Added to cart True Color Pro ALPHA is the fastest way to make your 1080p or 4K Sony footage look super professional and broadcast ready at the click of a button. Whether you have a Sony Camera A7R2 / A7S2 / A6300 / A6500 / RX100mk4 (Basically any Sony camera which allows S-LOG shooting). As long as you follow our, you can then use our awesome True Color Sony LUT and watch as the footage magically has a cinematic pop. The whole idea behind the True Color LUT is to produce an video image that replicates a properly graded RAW still image ready for print or display. Thing stuff like BBC’s Planet Earth. The idea is not to produce a hipster, faded retro look or washed out cinematic moody look. We wanted to create a clean look that has the wow factor without the viewer noticing that any obvious grading has been done.