Loadec

Download K1 – Cinematic LUTs 02 – LOG LUTs – Sellfy – Free Luts Download. Sellfy K1 Cinematic LUTs 02 LOG LUTs Free Download – Luts Collection. CINEMATIC LUTs 02 LOG LUTs – K1 PRODUCTION – Sellfy details can be found below by pressing Buy Here or View Demo Button. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix. S-LOG 2 on the A7S is the most effective LOG picture profile that has ever been made available for any DSLR.

Applying LUTs in DaVinci Resolve

You can apply a LUT for color work in DaVinci Resolve 12.5 as follows.
First, download S-Log2 LUTs from the Sony website and save them in the LUT folder, because DaVinci Resolve 12.5 only includes S-Log3 LUTs.

Download 3D LUTs for DaVinci Resolve

• S-Gamut/S-Log2
• S-Gamut 3.Cine/S-Log3

Procedure

Start DaVinci Resolve 12.5 and make sure the Project Manager screen is displayed.

Click [New Project] and open a new project with a name of your choice.

When the [Media] page is displayed, import your material.

In the volumes listed in the upper left, select a folder with material to import. Clip thumbnails are shown once the material has been imported.

Drag clips to the [Media Pool] area.

If the frame rate of a clip you drop does not match the project frame rate, a frame rate conversion window is displayed. Click [Change] to adjust the frame rate of imported material to match your project.

Open the [Edit] page.

In the toolbar, select [File] > [New Timeline]. A window opens. For your new timeline, decide details such as [Start Timecode] and [Timeline Name].

Clear the selected [Empty Timeline] check box, and then click [Create]. All clips in the [Media Pool] area are arranged on the timeline.

Open the [Color] page.

Right-click one of the clip thumbnails in the middle of the screen and choose a LUT from [3D LUT].

You can also add your regular LUTs to the [3D LUT] menu.

Click the [Project Settings] icon in the lower right. In the window that opens, click [Open LUT Folder] in [Color Management]. Save the LUTs you will use in this LUT folder.

Here, use the S-Log2 LUTs you downloaded initially. Click [Update Lists]. You can now select the LUTs from [3D LUT].

In actual editing, you may need to adjust the contrast before applying a LUT. In this case, go ahead and adjust the contrast before applying the LUT. With the LUT applied and your clip shown in colors for a Rec. 709 screen, you can now color grade it as you imagined it.

Adding to Resolve 14

a. File / project settings / Color Management / Open LUT Folderb. drop them to some of the allready existed folders (like sony)

man
http://documents.blackmagicdesign.com/DaVinciResolve/20170424-d01b5c/DaVinci_Resolve_14_Reference_Manual.pdf

7d c-log?

http://www.chungdha.nl/?s=c-log
http://philipbloom.net/blog/clog/
https://www.youtube.com/watch?v=RmCRhTedXpM

creating your own

just photoshop
https://www.youtube.com/watch?v=BmDy5-RdMng
with lut buddy
https://www.youtube.com/watch?v=o250fownOvE

stuff

bunch of luts and generator and 4k film grain (also deluts, including s-log2)
https://luts.iwltbap.com/ (8700, Aspen, Sedona and Arapaho seems all very nice.)

MPV player

a.IRC it can use ffmpeg filters?

And combine this with

say your 3DLUT transforms it from S-Log/S-Gamut to BT.709/BT.1886; then you’d have to use

Example that actually does something (if I add –vf=format. everything looks default…)

b. Convert .cube deLUT to icc profile using OpenColorIO tools?
http://opencolorio.org/userguide/baking_luts.html#icc-profiles-photoshop
http://opencolorio.org/userguide/index.html

and use

In Debian Stretch this tools are actually in repos

Adobe Cube LUT Specification

S Log 2 Luts

Calibration vs. Technical vs. Creative Look LUTs

Calibration LUTs are used to ‘correct’ display inaccuracies, ensuring any images shown on the calibrated display as accurate as possible - allowing for the underlying capabilities and/or limitations of the display. These are the most important LUTs as their generation has to be performed with very high levels of accuracy, or all images sheen on the ‘calibrated’ display will be incorrect, causing the inaccuracy to ripple back down the workflow chain.

Technical LUTs are used to convert between different ‘standards’, such as from one colour space to another, which should make the LUTs simple to generate accurately.

S-log 2 Luts Sony A7sii

Creative LUTs are often referred to as ‘Look LUTs’ as they are often used to set a look by a DoP on-set during filming, as well as to endow images with a specific look emulation, such as specific traditional film stocks.