FS7 LUTs look ridiculous

[Doug Metz]

Hey Tom,

Just curious – how are you applying the LUT?

Doug Metz

Dalton+Anode

[Tom Sefton]

Just using the extended metadata tab in fcpx and then rolling down the LUT tab

Co-owner at Pollen Studio
http://www.pollenstudio.co.uk

[Jeremy Garchow]

Is there also a camera LUT on as well, essentially making a double LUT?

[Tom Sefton]

No – shot in LOG

Co-owner at Pollen Studio
http://www.pollenstudio.co.uk

[Robin S. kurz]

[Tom Sefton] “No – shot in LOG”

I don’t think that’s what he meant. With FS7 footage FCP will *automatically* apply a default Sony CAMERA LUT upon import, which would make the one LUT you’re applying a SECONDARY LUT, therefore it would obviously look different than elsewhere.

– RK

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[Tangier Clarke]

I am working on a series right now shot with multiple FS7s and yes, the embedded clip-based color profile sometimes looks very saturated.

Honestly I there are some shots, particularly where the whites were overblown where the only way I could get it to look anywhere near decent was to apply the Panasonic V-log LUT in FCP X. Ironically I tend to prefer Panasonic’s images anyway, but that’s another discussion.

4K footage from Sony FS7
Final Cut Pro 10.4.6
Storyline = 3840×2160 @Rec 709, Sony S-Log3/S-Gamut3.Cine applied to clips.

[Jeremy Garchow]

I post F55 footage a lot.

The LUTs I have are made with the free Sony Catalyst software. I have one for every ISO setting with the 709A Look Profile/SGamut3 Cine.

It looks just like it does on set. The built in fcpx one does not.

Not sure if the Sony Catalyst software will do this with fs7 footage, but I don’t see why it wouldn’t be worth trying.

If you want, Tom Sefton, I can post the F55 ones for you.