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Hello. Thank you for your video. Little question. Why don't you apply the LUT directly to the rush from the bin. In the bin: right click on the rush > drop-down menu: Modify > Mode > Pop-up: Replace. Color space > Sony S-Log3/S-Gamut.cine (if you use the PP8 image profile of the Sony A7 IV) and finally click on OK. With this way of doing things, your rush directly regains its colors. You just have to make adjustments. But I could be wrong. Your opinion interests me.
Mainly because it doesn’t offer as granular of flexibility when adjusting exposure/temp/tint in Lumetri Color. Often times over exposing by 1.7 stops or so gives you the cleanest image and then you have to bring that exposure back down in post. LUTs have a baked in exposure adjustment (or 0) and after you still have to adjust it. The controls are just better for real world application when shooting in a bunch of different environments and best part is I can do it pretty fast with CineMatch 😁
You definitely can, but since it's a LOG to Final Look LUT, I would apply the LUT first to your clip, and then add a color correction plugin (Lumetri or CineMatch) above the LUT (so it applies before) and color correct to make sure the final image is looking right to your eye. That's the best way I find for color correcting when using a LOG>Final look LUT. The only issue I find with this is that it's harder to color correct all of the clips to each other since if you turn off the Phantom LUT, you'll be looking at a still very flat image and therefore it's much harder to tell if your exposure/WB is nailed and your clips are matched. Hope that helps!
@@DavidZhou thanks 🙏 I think I will try it your way first with CineMatch but not Phantom LUTS. I have the FX6, FX30 and A7S3 with Sony lenses in a video podcast studio so hopefully it will do a good matching job🤞The FX6 and A7S3 are supposed to be the same sensor but the former footage is always more saturated (using just S-Cinetone so far)
Shift-click on each effect in your Effects Control panel then, once all of the ones you want are highlighted, hit control/CMD-C, then paste it onto your other clips using control/CMD-V.
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one of the best explanation videos out there bro great job
really appreciate this man, great explanation
this video is amazing
Love this!
May I know what is the file extension of the movie file generated by the Sony camera that can imbed an slog3, is it still a mp4 or mov file
Still MP4!
Great Guide. Thanks
Glad it was helpful!
Hello. Thank you for your video. Little question. Why don't you apply the LUT directly to the rush from the bin.
In the bin: right click on the rush > drop-down menu: Modify > Mode > Pop-up: Replace. Color space > Sony S-Log3/S-Gamut.cine (if you use the PP8 image profile of the Sony A7 IV) and finally click on OK.
With this way of doing things, your rush directly regains its colors. You just have to make adjustments. But I could be wrong. Your opinion interests me.
Mainly because it doesn’t offer as granular of flexibility when adjusting exposure/temp/tint in Lumetri Color. Often times over exposing by 1.7 stops or so gives you the cleanest image and then you have to bring that exposure back down in post. LUTs have a baked in exposure adjustment (or 0) and after you still have to adjust it. The controls are just better for real world application when shooting in a bunch of different environments and best part is I can do it pretty fast with CineMatch 😁
Great video. Would you recommend using a Phantom LUT to grade the image after the colour correction?
You definitely can, but since it's a LOG to Final Look LUT, I would apply the LUT first to your clip, and then add a color correction plugin (Lumetri or CineMatch) above the LUT (so it applies before) and color correct to make sure the final image is looking right to your eye. That's the best way I find for color correcting when using a LOG>Final look LUT. The only issue I find with this is that it's harder to color correct all of the clips to each other since if you turn off the Phantom LUT, you'll be looking at a still very flat image and therefore it's much harder to tell if your exposure/WB is nailed and your clips are matched. Hope that helps!
@@DavidZhou thanks 🙏 I think I will try it your way first with CineMatch but not Phantom LUTS. I have the FX6, FX30 and A7S3 with Sony lenses in a video podcast studio so hopefully it will do a good matching job🤞The FX6 and A7S3 are supposed to be the same sensor but the former footage is always more saturated (using just S-Cinetone so far)
Definitely think it’s the perfect plug-in for the job! Should remove a lot of the headaches when trying to match cameras ✊🏼
When might I use S-LOG3 vs. S-LOG2?
I avoid S-LOG2 like the plague 💀 mainly because I just cannot for the life of me get good looking results when compared to S-LOG3
how did you copy and paste it?
Shift-click on each effect in your Effects Control panel then, once all of the ones you want are highlighted, hit control/CMD-C, then paste it onto your other clips using control/CMD-V.
Man SLOG used to be so daunting to color, this video really breaks it down perfectly!
Once you go SLOG, you won’t go back!