Sony Lut Pack
Package Features | Instant Digital Download
12 LUTs designed for Cine4 on Sony cameras
In-camera picture profile settings included
Pack contains stylized, natural and tonal LUTs
Import these LUTs into Adobe Premiere Pro, Final Cut Pro X, DaVinci Resolve or any program that supports 3D .cube files.
Package Features | Instant Digital Download
12 LUTs designed for Cine4 on Sony cameras
In-camera picture profile settings included
Pack contains stylized, natural and tonal LUTs
Import these LUTs into Adobe Premiere Pro, Final Cut Pro X, DaVinci Resolve or any program that supports 3D .cube files.
Package Features | Instant Digital Download
12 LUTs designed for Cine4 on Sony cameras
In-camera picture profile settings included
Pack contains stylized, natural and tonal LUTs
Import these LUTs into Adobe Premiere Pro, Final Cut Pro X, DaVinci Resolve or any program that supports 3D .cube files.
The Breakdown.
Roughly 4 years ago I decided to pick up the Sony A7S, coming from a Canon T3I I had the toughest time getting colors that looked good once I finished editing. I spent hours trying to figure out how to shoot. Testing things like S-log and the standard picture profile. After spending quite of bit of time with the camera, I discovered the best way to shoot in my opinion, that being with the Cine color space.
Since then I've done a handful of projects shooting and editing with the Sony A7iii, A7Riii, A7sii ect. and I'm sure Sony will release cameras with new profiles, but as of current this is my go-to color space when working with the Sony Alpha lineup.
I wanted color grading to be fast when working on projects that had tight deadlines. In this pack, I designed 12 LUTs that have a bold unique look that works in many different scenarios. Instead of offering just tonal LUTs (where an image's hue is skewed towards one color, i.e blue, green, orange etc.). The first 8 LUTs are designed to inject color into different parts of the image and give a contrast between the subject and the background – which I prefer in most scenarios.
Not to say a tonal LUT is bad or doesn’t work – I find they are best suited for situations where your video clip is already one color. For example, shots of the blue ocean or the greens in a dense forest. Tonal LUTs will further enhance just that one color. This is why I included the final 4 LUTs to be tonal giving you the best color in these situations.
My settings on my camera are the following:
- Gamma: Cine4 | Color mode: Pro | Detail: -7 | PP6 all other settings left at default
I recommend you use these LUTs with an adjustment layer that sits above all your clips, so you can tweak the original clips underneath. For speed, I first apply the LUT to the adjustment layer then adjust the original clip’s temperature, curves and exposure until I’m satisfied with the look. Some clips won’t require any further adjustments, it will all depend on how they were shot.
Below I have shared my workflow and editing process in video form.