You can use this on files you have recorded with an external recorder in the past. Will this work even on files that have already been recorded? The Slog Problem is only present in external recordings with Slog 2 and 3 Gammas via HDMI.Įxternal recordings via SDI are not affected. Sony a7S – Slog 2 – External – Fixed with Slog FIX LUT burned in, on the recorder FAQĭo I need this if I don’t use Slog 2 or Slog 3 Gamma? This Slog Issue is especially problematic in Slog 2 Gamma, as it kills some of the highlights and thus reduces the dynamic range of the image where it matters (highlight rolloff in critical shots): By loading this LUT onto an external recorder like the Atomos Shogun, you can fix the Slog problem during recording, work with a correct file from the start, and save the additional rendering time otherwise needed in post production.
![sony slog 3 lut sony slog 3 lut](https://obrazki.elektroda.pl/1402181900_1392167078.jpg)
On top of that, this LUT gives you the unique possibility to burn the correct Gamma right into your external recordings.
#SONY SLOG 3 LUT FULL#
Essentially, it recovers any Slog 2 or Slog 3 files recorded externally, and gives you back a true Slog image with the cameras full dynamic range. Here is better way to fix the Slog Problem at any stage of your workflow, and it’s the fastest we have found in the form of our very first official C5D LUT.
![sony slog 3 lut sony slog 3 lut](https://i.etsystatic.com/19499455/r/il/5196ea/1814348785/il_1588xN.1814348785_gl0v.jpg)
Qui sotto trovate il C5D Slog Fix la LUT che consente una veloce soluzione del problema. Vi è una correzione che coinvolge il problema con dei filtri sia in DaVinci Resolve che in Premiere ma questi possono influire sulla tempo di rendering considerevolmente. Questo fenomeno è stato il motivo principale per cui alcune persone hanno evitato di usare registratori esterni con queste fotocamere. In sostanza, l’informazione di contrasto viene salvato in modo non corretto nelle registrazioni esterne tramite HDMI, vanificando così l’intero scopo di un standardizzato Slog Gamma.
![sony slog 3 lut sony slog 3 lut](https://www.cined.com/content/uploads/2016/07/slog-fix-featured.jpg)
Già nel mese di marzo, sono apparsi degli articoli sul fenomeno neri schiacciati riguardante le A7S Sony, Sony A7S II, Sony a7R II e Sony telecamere a6300. Grazie a questo LUT che può essere applicata sia ai registratori esterni che anche in post e restituisce l’intera gamma dinamica di un’immagine vera Slog. Ma ora è disponibile una soluzione estremamente semplice. Il problema è con la Slog che taglia fuori i neri e e dà una immagine sbagliata utilizzando i Slog 2 o 3 Slog. For the A7IV, use the A7SIII LUTs.Le registrazioni video esterne dalle fotocamere Sony serie A7 sono la soluzione ottimale per superare i limiti dei codec interni, ma purtroppo l’immagine che si ottiene non è perfetta, con la registrazione esternamente tramite HDMI, c’è una evidente perdita di gamma dinamica. Again, this is only a starting point to start your grade and we recommend to do all the necessary adjustments before the LUT node such as tint, WB and contrast.
![sony slog 3 lut sony slog 3 lut](https://tecnomad.pro/wp-content/uploads/2019/03/lut-soft-1068x597.jpg)
Also, keep in mind that ND filters might cause some shifting in the tint.
#SONY SLOG 3 LUT FREE#
If you usually overexpose your footage, feel free to do so, but apply the LUT on a second node and adjust your exposure on a first node (in this way you will work on the log). If you shoot SLog3 that’s totally fine, but you might need to add a little bit of extra contrast. NOTE: Our Sony LUTs also work perfectly with the A7S III and the A7IV.
#SONY SLOG 3 LUT HOW TO#
cube files, such as DaVinci Resolve, Premiere Pro and Final Cut X.Ĭheck out this tutorial to see how to use the BUTTERY LUTs!
#SONY SLOG 3 LUT SOFTWARE#
Yep, just one LUT! Our LUTs are compatible with any software that support. Our LUTs work in every single lighting situation, at any ISO. In your editing or color grading software just apply the LUT to your footage and do the basic adjustments such as exposure, contrast, WB or tint as you like. The workflow is extremely simple: first of all, you need to shoot LOG and LOG only.