The Breakdown.

Roughly 6 years ago I decided to pick up the Sony A7S, coming from a Canon T3I I had the toughest time getting colours 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 colour space.

Since then I've done a handful of projects shooting and editing with the Sony A7iii, A7Riii, A7sii etc. and I'm sure Sony will release cameras with new profiles, but as of current, this is my go-to colour space when working with the Sony Alpha lineup.

I wanted colour 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 colour, i.e blue, green, orange etc.). The first 8 LUTs are designed to inject colour 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 colour. For example, shots of the blue ocean or the greens in a dense forest. Tonal LUTs will further enhance just that one colour. This is why I included the final 4 LUTs to be tonal giving you the best colour 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 and 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.