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1. S LOG2 LUT DOWNLOAD SONY A7SII FOR FREE
2. S LOG2 LUT DOWNLOAD SONY A7SII FULL
3. S LOG2 LUT DOWNLOAD SONY A7SII ISO

All that subtle opal colour and detail just popped right out. Amazingly despite being 8bit, with S-LOG it doesn’t. I had expected the XAVC-S codec to show some banding in the sky on this shot. The A7S is now my preferred choice over 5D Mark III raw video, because the image is as good yet the file sizes, EVF and even better low light ability make it more practical.Ībove: S-LOG 2 graded with EOSHD Dynamic LUT (top) and ungraded (bottom) In my shootout with 5 other cameras (coming soon) I also tested 5D Mark III raw and it is very surprising just how similar colour and tonal range look between raw on that camera and H.264 on the A7S considering the gulf in bit depth and file sizes between the two. The A7S files graded far better than my FS100 (and therefore FS700) and usable dynamic range exceeded what I was able to get with my Blackmagic Pocket Cinema Camera with ProRes.

In 99% of cases they graded just as well as ProRes recorded externally from the cameras HDMI port to the Atomos Ninja Star which says a lot about the quality of the encoder Sony have put in the A7S here. What really surprised me is how well the XAVC-S files grade from S-LOG. It is much harder to match the GH4 with CineLike, or a Canon DSLR (unless shooting raw). For me, creatively, this is a revelation.īeing a widely used standard LOG curve S-LOG means you can more easily match shots from the A7S to other Sony cameras with S-LOG such as the FS700, F5 and F55.

S LOG2 LUT DOWNLOAD SONY A7SII ISO

In fact it is so clean that at ISO 12,800 the image looks like ISO 800 on most other cameras. Otherwise the sensor is extremely clean at the native ISO of 3200. Only if you do something wrong in the grade or with your exposure do you get noisy shadows when shooting S-LOG. The codec grades remarkably well without the usual banding over skies and heavy noise in the shadows. It is better than Technicolor CineStyle on Canon DSLRs and better than CineLikeD on the GH4. S-LOG 2 on the A7S is the most effective LOG picture profile that has ever been made available for any DSLR.

For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. Dynamic – for best dynamic range, will suit a low contrast shot requiring high dynamic range and plenty of shadow detail. Also good for low light. Vivid will give a punchier look to those shots that benefit from it like a sunset and where some dynamic range can be scarified for higher contrast and saturation. for an instant cinematic look to your A7S S-LOG 2 footage. I am sharing a pack of LUTs for the A7S which can be applied in Premiere, Resolve, etc.

S LOG2 LUT DOWNLOAD SONY A7SII FULL

Now Sony have put this on a $2500 consumer camera along with the best full frame sensor I have ever used for video. S-LOG made its debut on the Sony F35, a workhorse of Hollywood.

S LOG2 LUT DOWNLOAD SONY A7SII FOR FREE

INFO: BASE LUTS ARE INCLUDED FOR FREE ON EVERY NTOWN STYLING LUT PURCHASE!Īvailable BASE LUT Collections Canon C300 Mark IIīASE LUTs for Canon c-log, c-log2, c-log3, all in two Gamut variations BT.Only a few years ago S-LOG was a $3800 upgrade for the Sony CineAlta F3, itself a $15,000 camera. The base LUTs corrects the values to a more “viewable” image appearance without loosing any image information in shadows or highlights. While camera manufacturer’s REC.709 LUTs can be used on some shots, they crush blacks too much and clip highlights to levels where brightness information is lost and therefore most likely don’t gets you the wanted look, especially when further grading is desired. These LUTs also provide the “base” for NTown’s Styling LUTs which are available in our Webshop. For the Canon C300 MkII c-log2 needs 2 stops over exposure and the classic c-log and c-log3 need 1 stop overexposure. Base exposure was the light meter reading with additional stops overexposure depending on the selected gamma’s needs, so that colors and contrast look right. Blacks are lowered to the lowest possible – with all shadow details preserved without crushing the blacks.Īll Canon LUTs are gernerated based on precise light meter ( Sekonic L-408) readings with a standard grey-card. These BASE LUTs sets the correct contrast, saturation and gamma levels for the different cameras without loosing information in highlights or shadows – no whites are clipped and Superwhites (video signals over 100% IRE) are scaled to 100% IRE to expand dynamic range even further. This List contains the most popular cameras and the representing base LUT download for the specific gamma available on these cameras. List of most popular Canon, Sony, Panasonic camera Base LUTs