I tend to find Sony’s mids/skintones have a tendency to look cool or at times even purple, so one of my primary goals with this LUT was to eliminate that issue.īelow are three screen shots showcasing the different SLog 3 looks: From there, I brought down the mids a touch, made a slight contrast adjustment, and warmed up the midtones slightly.

The new LUT that I created was based off of a hybrid of Sony’s SLog 3 LUT and the Arri Alexa LUT, the former of which works surprisingly well with SLog 3 footage. The goal of course is to save myself a lot of time in the editing room/color suite, and get each shot that much closer to the final look right off the bat. Since I will inevitably be shooting more and more with the A7S II as the months go on, I decided to create a new LUT to use in place of Sony’s standard SLog 3 LUT. With the A7S II on the other hand, I’ve never had perfect results while using Sony’s SLog 3 LUT on any clip that I’ve shot to date. On my Blackmagic URSA for instance, if I have exposed my shot properly I am able to drop on a LUT in Resolve or FCP X and the image will look fantastic right away. That’s not to say you can’t achieve beautiful color results with Sony’s cameras, but rather that you need to work a little harder to get there. But even though they are ahead of the curve in so many ways, their color science is still far behind companies like Blackmagic Design or Canon. Sony is leading the way in mirrorless innovation at the moment, and I respect what they are doing tremendously.

While I’ve really been enjoying the A7S II, my biggest issue with it so far has been the same as my issue with all of Sony’s other cameras – the color science. I’ve been shooting with my new Sony A7S II extensively over the last couple of weeks, and recently developed a LUT that I’ve been using with all of my SLog 3 footage.

Slog lut premiere