a7s slog2 rec709 lut





after creating 4 luts for use with the a7s in slog2/sgamut on the atomos shogun, i ended up needing one more.

for a recent red bull shoot we wanted a rec709 lut that would convert slog2/sgamut to a deliverable range that had great skin tones.

i’m not an expert on luts, but using sonys f55/65 slog2-rec709 lut I was able to make one for the a7s using slog2/sgamut that is really pleasing.

i call it rec709…ish because it looks like it’s at least pretty close.

blacks and shadows are crunched pretty hard compared to the other luts, which gets rid of most noise… i think it’s a great lut to light a scene with, even if you plan on going with a heavier or more stylistic grade.

here are some slog2 vs rec709ish from the shoot (followed by a link to the lut)

 

redbull_color_test.00_00_31_20.Still002 redbull_color_test.00_00_31_20.Still001

redbull_color_test.00_00_00_19.Still012 redbull_color_test.00_00_00_19.Still011

redbull_color_test.00_00_26_17.Still006 redbull_color_test.00_00_25_09

redbull_color_test.00_00_02_05.Still010 redbull_color_test.00_00_02_05.Still009

 

click here for the rec709ish lut to use with the shogun/odyssey 7q+

click here for rec709ish low contrast lut (probably better for internally recorded slog2/sgamut, will still work well with external recorders)

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click here to purchase the a7s body

and click here for the atomos shogun for 4k and lut support.

23 Replies to “a7s slog2 rec709 lut”

    1. key is a 650 arri in a softbox, 2 650’s on either side for rim, gelled and blued, background i think was another softbox, and those lights in the middle are LEDs

    1. Generally if you’re looking at the cameras measure of +1 or 0, etc, +1 seems to be a safe place for general exposure. If you have a shogun or similar monitor that gives you false colors, expose each portion of your scene individually, having skin set around 65% IRE, and bringing shadows up by about 1 stop so you can pull it down in post and kill noise.

  1. Thanks very much. I shot some test footage using SLOG2.

    I then applied your REC LUT on an above adjustment layer in PP (PP2015 has an input LUT and a creative LUT, not sure if it matters yet)

    Next I graded on another adjustment layer above the REC LUT.

    Is that the right workflow?

    Much appreciation in advance and well done on the beautiful images.

    🙂

    1. truthfully i’m not super familiar yet with the new features in cc2015. after playing with it for just a moment, it appears if you apply a lumetri color layer, under basic correction you could put the the rec709 lut as the input lut. then you could go under the creative tab and try different built in looks, or even one of the film luts.

      as for grading ‘above’ the effect: the more ‘up’ you go on your video effects panel, the more an effect is adjusting the ‘raw’ footage. the further down you go, it’s like applying an effect onto the effect above it. if that makes sense.

      so if it were me, my top layer would be any denoising i want to have done (so it has access to an ungraded image to get the best ‘view’ of the noise), next down i’d put my lut to get me in the general ball-park of a look, next down i’d do any other adjustments like windows for brightness/contrast/sharpness, and so on.

  2. Great Work Casey. Very crisp images out of that setup. Much better than most I have seen! – I was wondering if this LUT is optimised for overexposure? You said that you are exposing skin tones at around 65% IRE which is about 2 stops over.

    Would be amazing to see some LUT’s for 2/3 stops over if your into that? There are lots out there done by mathematicians, but they never have any nice footage to back it up. The proof is in the pudding as they say!

  3. I suppose I should be a little more specific. I like to have my key side (brighter side) of faces around 60-65, and the fill of course can be darker depending on the ratios. In fact with the a7s if you expose much beyond 70 on skin I think you start to risk losing detail somewhere on it.
    That being said, I could probably easily convert one of my luts for 2/3rds stop over exposure (unless you mean 2 to 3 stops over?). So you have any footage with the exposure you have in mind? If you send me a short clip I could do that quickly.

    1. Thanks Casey that’s is a very generous offer. I guess my thinking is that many people expose 2 or 3 stops over (seperatly). – so being able to moniter what your end product will look like is quite useful. (I.e after you bring it down in the grade) I find if I moniter without any exposure compensation than I tend to underexposed and end up with more noise. – I am shooting a camera test this afternoon, so i can shoot some stuff at normal exposure. +1, +2. And +3 stops. – that might be easier to work with if that helps. 🙂

      1. My luts usually seem to sit around 1.3-1.7 over when I check the in-camera exposure reading (this is due to my personal exposure preference), so it should be pretty good for people that do +1 and +2 I would imagine… Obviously needing some tweaking. Feel free to link to some footage with all 3 exposures, and check it out. My worry would be that +3 is starting to lose some of the dynamic range benefits that slog2/sgamut offers, and you may start to run into skin tones losing detail. But that remains to be seen 🙂

        If you have a color chart, that’d be helpful. If not, snap a picture of the scene with pp off/neutral just for my reference. Thanks!

        1. Hey Casey, I had a super brief chance (5 mins) to get some footage this afternoon. – this is captured with ‘detail’ at -7 to remove all sharpening. Slog 2, w/ Sgamut. This was internal as unfortunately I didn’t have my shogun with me. Also – Auto WB. And spot metered on his face. (Personally I prefer waveforms or false colour, but I figured this is how most people would use it)

          1. Jealous of you for so many reasons. Got the footage, and I think it’ll work great for the +3 lut. I’m honestly surprised actually that the levels are where they are… at +3 it looks properly exposed compared to every other exposure!! This is really interesting.
            I’ve been crazy busy on shoots so I’ll have to get to it later this week. Thanks!

          2. edit: couldn’t stop thinking about it so i started to give it a grade. here is where i’m at so far:
            http://caseywilsondp.com/wp-content/uploads/2015/08/3stopsoverslog2.jpg

            i think my initial assumption that 3 over would be too much is holding true in that the skins highlights are hovering a little over 80ire, which is actually fine, but it doesn’t give it a ton of wiggle room to adjust it in post.
            however, i can see a lot of benefit in going 3 over particularly in a scene like this, where there is a lot of shadow area that you’d like to crush down a few stops to keep noise at bay.
            on another note: your assistants blue hoodie is reacting really interestingly I think… is this an accurate representation of it’s color according to your eye?

  4. Hi, I have a7s with smallhd-501 monitor and I input rec709ish-low-contrast lut into the monitor.(so I can focus easily)
    About Exposure: Should I expose +1 to +2 from what I see in the monitor or from what the camera assumes ?
    If I expose accurately from what I see in the monitor I am already overexposed in-camera. Is this enough?

  5. Hi, I love your LUT. Using it with the Sony a6300 is amazing! Thank you very much for making it available for free. I never pay for software if I don`t need to, but in this case I would like to donate. Can you post or send me your Paypal Email adress or include a “donate” button on this page? Thank you

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