Choose the gamma of the footage you want to apply to LUT to Arri log c Blackmagic BMD Film Blackmagic BMD Film 4K Canon Cinestyle DJI D-log Gopro Protune Other Panasonic Cinelike-D Panasonic V-log RED Color RED Log Film Rec 709 Sony S-Log Sony S-Log 2 Sony S-Log 3 linear Panasonic V-log L. BMDFilm URSA to Rec.709 Canon C-Log to Rec.709 DJI D-Log to Rec.709 Generic LOG to Rec.709 Generic Rec.709 to LOG GoPro Protune to Video Panasonic Cine-D to Rec.709 Panasonic V-Log to Rec.709 REDlog to Rec.709 REDlogFilm to Rec.709 Sony S-Log2 to Rec.709 Sony S-Log3 to Rec.709 Technicolor CineStyle to Rec.709. Feel free to suggest new profiles. No LUT LUT applied. I thought I would add this info in a place where I can pass it to clients. Mainly I shoot my Sony FS7 camera using the ‘Slog’ look. This appears very flat and grey when passed into an NLE. Some have complained that Arri’s Rec 709 in-camera LUT is a little too “crunchy” (contrasty) but I like it. LC709 Type A doesn’t feel contrasty enough. In tests I’ve noticed that LC709 Type A crams close to three stops between 40% and 70% on a waveform, whereas Alexa only squeezes in two.

In the world of expensive cameras like the Sony A7s III and Canon EOS R5, there are those who use Canon’s budget cameras like the Canon Ti Series, SL series, etc. With those cameras, there’s a common picture profile being used called Prolost Flat. It’s good and all, but the most difficult thing about it is getting the footage to look great while editing. That’s were LUTS come into play.

(Downloadable Prolost Flat to Linear LUT can be found below.)

First off, What is Prolost Flat?

Prolost Flat is a modified Neutral Picture Style with these settings.

• Sharpness set to zero
• Contrast set to all the way to the left
• Saturation set two notches to the left
• Color tone set to zero

This profile has less contrast and saturation to help preserve information within your cameras dynamic range, specifically in the highlights and the shadows.

Linear LUT for Prolost Flat

Lowering the contrast in cameras causes the shadows, mid tones, and highlights to curve. As a result, grading straight from a flat footage doesn’t always have a favorable look just by bumping up the contrast and saturation. Bumping the contrast and saturation only stretches the waveform generally from the mid tones out towards the highlight and shadows. Instead the footage should be converted into a linear color space first.

Here are some test shots from Prolost Flat to Linear.

Adding the LUT causes the flat video to have a bit more color and better contrast than Prolost Flat to have a starting point for the color grading process. Keep in mind the contrast and saturation controls were not used during the making of the LUT. The only thing that changed was the curve.

Download the Prolost to Linear LUT here.

Free Sony S-log 2 To Rec.709 Lut

What Now?

Assuming that you exposed and white balanced your footage, you can bump up the saturation and contrast as you like and grade the footage after adding the LUT.

Enjoy!

Additional Information

The Linear LUT will only work on the Prolost Flat Picture Profile with specific settings:

18% Grey @ 50% IRE for ProlostFlat_to_Linear_EV0.cube

18% Grey @ 62.5% IRE for ProlostFlat_to_Linear_EV1.cube

Sony Slog2 To Rec 709 Lut

This LUT was create by me and I’m not claiming to be a professional colorist or a LUT creator. I made this LUT for experimentation and will continue testing. If you would like to support the continuation and making of the LUT feel free to message me!

If you would like to get a hold of a Prolost to Rec.709 LUT visit Adrian Bacon’s article.

Q&A

Sony Rec 709 Lut

Is this a conversion LUT to Rec.709?

Not necessarily, but take is as you will. I don’t have Rec.709 to compare with Canon’s sRGB color space so I won’t call this Prolost to Rec.709, but Prolost to Linear.

How did you come up with this LUT?

Gerald Undone, a youtuber, has made a very informative video on Common Log Grading Mistakes. I took information from his video and created the LUT.

Sony S Log2 To Rec 709 Lut File For After Effects

Why does the 11-Step Gray Scale image look like that?

Sony S Log2 To Rec 709 Luton

The 11-Step Gray Scale image I shot isn’t the true dsclabs 11-Step Gray Scale Chart. It’s a screenshot image of the 11-Step Gray Scale Chart. Although it may not be it’s true color I had to work on the Prolost Flat footage relative to my camera’s Neutral Picture Profile, not the screenshot image. This keeps a consistent curve conversion.

Sony S Log2 To Rec 709 Lutheran

One thing that may be flawed is the light coming from the monitor itself effected the 11-Step Gray Scale screenshot. Monitors are known to be inconsistent with exposures while look at the monitor at different angles.