Importing Sony 3D LUT

Hi Guys,

I have a Sony FS5 and I've downloaded the LUT Files from Sony (I've been shooting in SLOG3) how do I import them into FCPX. I've been trying the drag and drop method but that doesn't seem to work,

Here is a screen shot of the files that I've downloaded.

and tutorial or quick answer is much appreciated

thanks

Neil

I use the Fs5 as well and I apply the LUTs with color finale from Denver Riddle at colorgradingcentral.com. I highly recommend it for grading and LUT management. It is a really good interface, much closer to Davinci and better IMO that FCPX color board. But either way you need a LUT loader plug-in for FCPX. It doesn't have a native way to load LUTs that I know of.

There is a free LUT loader from Coremelt. www.coremelt.com/products/lutx/lutx-free.html

Correct, FCPX doesn't directly import or store LUTs. Color Finale is really good. I use LUTx as I like the controls it gives me, in addition to Color Finale for grading post-LUT. LUTx has a free version, also. Personal preference.

www.coremelt.com/products/lutx/lutx-free.html

And here, I forgot I have this one as well, store.pixelfilmstudios.com/product/fcpx-lut-loader/

Thanks Guys, I've just discovered that I have this Lut Utility already in in System Prefs. Sorry, it's been a while since I used it.

In a perfect world then, is the idea that I do the general editing etc in FCPX and the colour grading in something like DaVinci ?

Using a program like davinci will give me a better result overall ?

thanks

Neil

see below

Hi,

Re Sony FS5 and the Sgammaslog3s at the top of the pic that I have attached, which LUT is the best one to use ?

Also, how are you getting on with you FS5 ? (I've only had mine a few days but I've shot two jobs on it, which has been a steep learning curve ! )

Neil

Neil, I really like the camera a lot. I mostly use canon glass on it, the 24-205 with the speedbooster. Once you get it dialed in it is a great little machine. I usually just start with the sony lut and then grade from there. But I must admit I only use slog 3 when I feel it is really necessary. I have a cinegamma PP dialed in that is just a bit flat and it has been my go to 90% of the time. This camera isn't all that log shooting friendly on the monitor side of things in my opinion, and since 4k is only 8bit I don't think the log really helps that much, and the potential for error is pretty high if your not super use to shooting log, which I am not.

So there is an argument that has been made by Doug Jensen that FCPX uses a 32 bit color space, and so you really can't get anything more out of a log that you couldn't get shooting a 709 cine gamma. And if you want the most of the 10bit file from the fs5 you need to grade in something like Davinci which is 64 bit capable. I am not all that technical about it but maybe the more technically astute here will clarify.

thanks for the useful reply, a couple of clarifications though.

I come from DSLRs (nikon ) so it's a steep learning curve.
1, I use nikon lenses (don't judge me ) and wondered what a speed booster is ?
2, Is Cinegamma within the 8 presets ( slog2/3 being numbers 7/8 )
3, monitor unfriendly, is this because the monitor looks flat (it takes some getting used to shooting such awful looking footage )
4, why is the potential for error greater when shooting Slog ? - It's the type of file that has the most info in , i.e. the files most likely to get you out of a hole ?

Sorry about all the questions, I'm genuinely curious and trying to gather as much useful info as possible.

thanks

Neil

Cool, I understand that (I think), I've got a free copy of Davnci so I'll check it out.

I love Doug Jensen's tutorials, they have been so useful during the last few days

Neil

1: nikon is fine with me I just have a ton of canon lenses. Metabones has two converters one is just a tube and you will get a focal factor increase, so a 50mm will be more like a 75mm (ballpark) and the f-stop stays the same. They also have a speedbooster with glass in it which takes the Full Frame 35 image circle from the DSLR lenses and reduces it to the super 35 sensor on the Sony. Which gives you back your 50mm field of view but it also increase the light by one stop making your nikon 50mm F2.8 an F2.0 for example, and with the clear image zoom on you get a lot of versatility from your lenses.

2: I would start with the PP6 and do a lot of test with the black gamma and saturation till you find something you like.

3: Turn on the LUT assist and the monitor will be better when your shooting log, but you can't load a particular lut in the viewfinder. If I were shooting a lot of footage where I need a slog3 I would invest in a recorder like the odyssey where you can really see what is going on, waveforms, better histograms etc. and with the upgrade you would get RAW 4k out etc.

4: The biggest danger with log footage is noise, and not properly exposed footage. Only shoot log when the Dynamic range is greater than 10 stops for example, which is what the non log will capture. the Fs5 will do 14 stops in slog3. So you probably should never shoot log in any low light situation or any controlled lighting environment for example where the DR is less than 10 stops. Log is different than RAW on a DSLR and the two do not work the same.

Thanks this is really useful

I've got to go out to a shoot now (stills) so I'll digest and prob reply in the morning.

So much to learn , are you UK based and do you give one to one tuition ?!

Neil

USA based, and I am certainly not qualified to charge tuition. This was my latest vid with the sony, vimeo.com/161215067

Thanks for all the info.

Re noise in Slog - is that noise at it's lowest setting (3200) or when you are upping your iso ? I did a super slow mo test at 3200, exposed correctly and shot at 200 fps I did notice a disappointing amount of noise in the blacks, although when I a[[lied the sony Lut it seemed to reduce most of it.

I will check out PP6 though and do some tests.

Nice film, I love the opening shot and the film is nicely lit. Was it shot in PP6 ? I presume sound was a challenge, it must of taken you a while to that correct.

On the subject of craftsman I shot this video of a traditional Cider maker. It has the same sort of feel. It was shot on my Nikon D800 though. It's probably too long though and needs some uk based music.

Link here vimeo.com/album/3934337/video/164975248

Neil, thanks for the kind words on the video. The sound was actually very easy I use a rhode nt5 for the ambient and then I put a Michael Joly capsule on it for the interviews. It is the quietest mic I have ever used. If your not familiar with Joly he takes existing mics and modifies them to match the sound characteristics of a schoeps. It really works awesome for anything inside. I use my sennheiser shotgun in a blimp outside.

Very nice story with the cider mill. Well done, and I can't image how difficult that was to do with a dslr with the sound.

Re noise in slog, yes that iso is what sony rates its native setting, but you need to over expose by 1.5 stops when shooting slog. So zebras 2 at 75% is probably the best way to monitor it.
This video explains sony's Slog very well,

Thanks,
I'm watching the video now

another basic question - whether I'm shooting Slog or PP6 are you always shooting HD ?

Neil

Neil, I don't have any clients who request 4k at this time. But I shoot any interviews that I can in 4k so I have the ability to cut whenever I need to. And I think the slog in 4k is really pushing the capabilities of the 8bit 4k. As you know the HD is 10bit bit and it really grades very well. But I have had a bit of trouble if I don't nail the color or if there is mixed lighting with the 4k, it just won't go very far, but if you get it right I think this camera produces images that are really top notch.