Since the year 2000, Sony has been developing digital motion picture cameras and supporting products for the digital cinematography community under the CineAlta brand.

I have some footage shot with a Sony camera in Cine4 format. As far as I understand it, this is not a LOG format, does this mean that it is rec 709? Do I need to choose a rec 709 input LUT in Lumetri for this? Convert Any LOG File to Rec.709 With Just One Click - DaVinci Resolve - Duration: 8:13. EXPOSE Sony S-Log Correctly EVERYTIME + LUTS - Duration: 7:26. Henbu 169,150 views.

During this time Sony designed and published its original “S-Log” curve, integrating this into the camera to allow them to capture scenes with exceptionally wide latitude. As digital cinematography standards have evolved and technologies improved, new camera models have been introduced with improved S-Log curves, S-Log2 and more recently S-Log3, greatly enhancing the latitude and dynamic range capabilities of the newer cameras.

Yes, it has the same color primaries as Rec.709, but that is it. There is nothing else about Canon EOS DSLR video footage that looks even remotely close to Rec.709. If anything, it’s awfully close to Canon LOG believe it or not, assuming of course that you’re using the Prolost Flat picture style. The second LUT is almost exactly the same as the first LUT, but has one change. It keeps the video code values in the Rec.709 broadcast safe legal range. If you use this LUT, you should take great care to expose correctly in-camera.

Over the years Sony has also introduced new, wide color spaces. S-Gamut3.Cine is one such color space, wider than the DCI P3 color space used for digital movie projection.

Canon Rec 709 Lut Download

Sony Rec 709 Lut

Both S-Log3 and S-Gamut3.Cine provide huge dynamic range and color space capabilities within the camera which can be used to capture material that provides post-production with the widest creative freedom and control.

Free Sony S-log 2 To Rec.709 Lut

However these technologies present a problem for those working on-set, in dailies and in post-production. Specifically, how to review material shot in S-Log3/S-Gamut3.Cine on a standard monitor designed to operate in a conventional Rec.709 dynamic range and color space.