![]() If you are shooting SLOG to only throw a LUT on and call it done, you shouldn't be shooting in Log at all. SLOG will give you the most available dynamic range in your captured video, but without proper correction and grading you wont see it all. The best options to do that I have found are: 1. You need a LUT to start, one that accurately converts to REC709 color. Just to be clear, that plug-in allows one to use anyone's LUT. I edit in Sony Vegas Pro and I use the Vison Color LUT plug-in. ![]() Import the preset file or just drag and drop the LUT to your video to add fantastic color grading. You can use them for your films and TV, social videos, presentations, and more. You could do the same in Premiere in Lumetri and then apply it to everything as a Master Clip Effect.Īlso, I just watched a video on real estate videography - the guy said that shooting in SLOG2 is a must for shooting interiors of homes with bright windows due to the huge dynamic range of the windows vs interior. I have plenty of experience with Slog 2 from the Sony RX100 IV. Item details This LUTs pack contains 22 Cinema Slog2 LUTs and 22 Cinema Rec 709 LUTs. But for that, I just go to DaVinci and make my own for every shoot (usually one for ever location). Convert your high dynamic range Sony S-Log2 & S-Log3 to a naturally enhanced look. But remember that a LUT is a starting point at best unless this is a temp color.īut honestly, I wouldnt use it unless its just temp color for editing and you dont want to look at grey all day. Sony Natural LUT Pack SLog2 & SLog3 to Enhanced Rec709 LUTs. There is an abundance of "SLOG2 to _" LUTs online its almost a joke. ![]() ![]() You need to use the scopes, and some saturation. ![]() Trying to learn how to correct in premiere pro ![]()
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