
I measured more than 10000 color patches for each profile, and I used my own color conversion engine to build 3D LUTs from these measurements.
SONY S LOG LUTS FULL
In Premiere Pro go to Effects, and choose Lumetri Presets -> Technical -> Full to Legal range, and choose the bit depth corresponding to your footage. If they don't, and you're in Resolve, go to the Media pool, select your clips, right click, go to Clip attributes and select "Full" at Data levels. Just import the reference black image into your timeline (it's in the FixLevels folder), shoot a short clip with the lens cap on, import that as well, and compare the black levels. Sony's S-Log2 recordings are full range, and they should be interpreted as such, that's what my LUTs expect. This step is not required if you use the in-camera recordings in the latest versions of the editors mentioned, but it might be necessary when using externally recorded footage. Full to legal range conversion LUTs for Davinci Resolve, Premiere Pro, and FCPX.Exposure modifier LUTs that range from -3 EV to +3 EV, in 1/3 stop increments.It's important to note that the LUTs were created using the Sony A6300's S-Log2 implementation, and although the colors of log profiles are rarely change, I can't say with 100% certainty that Sony didn't change them in newer models.

This is not a strict requirement, I give you LUTs to modify exposure.

The low contrast version emulates the following settings: This is a pack of 3D LUTs that convert Sony's S-Log2/S-Gamut3.cine to the following Fujifilm film simulations in DR400 mode:Įach LUT comes in two versions, the normal one emulates the following settings:
