Why does my Sony S-Log footage look washed out and grey?

Log profiles like S-Log2 and S-Log3 intentionally record a flat, low-contrast image to preserve maximum dynamic range. To view it correctly you apply a conversion LUT that maps the Log signal to the Rec.709 standard your screen uses. That is exactly what these LUTs do.

Are these LUTs really free?

Yes. MIT licensed, free forever, no email required. Log-to-Rec.709 conversion is published mathematics; nobody should pay for it.

Which software do these LUTs work with?

Any tool that loads .cube 3D LUTs: DaVinci Resolve, Premiere Pro, Final Cut Pro, CapCut, Atomos and other field monitors. The PNG versions work in OBS Studio and vMix for live streaming.

How are these different from paid LUT packs?

These are technical conversion LUTs generated by open-source code implementing Sony's published transfer functions and color matrices. The math is auditable in the repository. Paid packs typically wrap the same standard curves behind a paywall.

Free & open source · Sony A7 III · A7 IV · A7 V · FX3 · FX30 · FX6 · FX9

Your Log footage, correctly converted. Free.

Accurate S-Log2, S-Log3 and HLG to Rec.709 conversion LUTs for Sony cameras — built from Sony's published color science, not guesswork. Download the .cube, drop it on your clip, done.

Download your LUTs View the source

MIT LICENSE · NO EMAIL · NO PAYWALL · .CUBE 33-POINT + PNG FOR OBS/VMIX

HOW TO INSTALL ↓· CAMERA SETUP ↓· FAQ ↓· GITHUB →

S-LOG3 / S-GAMUT3.CINE → REC.709DRAG TO COMPARE

Illustrative gradient chart. Log profiles record flat on purpose — the LUT restores standard contrast and color.

Download

Pick your camera

Each pack contains 33-point .cube files for editing software and 256×16 PNG LUTs for OBS Studio and vMix. Matched to the picture profiles your camera actually offers.

Sony A7 IV S-LOG3 · S-GAMUT3.CINE / S-GAMUT3 · HLG · CINE4 10-bit ready. Standard conversion plus a filmic version with soft highlight roll-off. Get A7 IV LUTs

Sony A7 III S-LOG2 · S-LOG3 · HLG · CINE4 Tuned for 8-bit: smooth curves that avoid banding and posterization. Get A7 III LUTs

FX Line & A7 V S-LOG3 → s709-STYLE · LC-709TypeA-STYLE · 709(800%) · HLG For FX3, FX30, FX6, FX9 and A7 V. Includes cinema-look conversions. Get FX / A7 V LUTs

What's inside

Technical conversions, not mystery filters

Sony's published mathOfficial S-Log2 / S-Log3 / HLG transfer functions and gamut matrices derived from the published primaries.

Auditable sourceEvery LUT is generated by open Go code. Read it, verify it, rebuild it yourself.

Honest labelingWhere Sony doesn't publish a formula (s709, Cine4), the LUT is clearly marked as an approximation.

Two formats.cube for NLEs and monitors · 256×16 PNG for OBS Studio and vMix live streaming.

Install

Applied in under a minute

Download the pack for your cameraGrab the .cube file matching your picture profile (e.g. S-Log3 / S-Gamut3.Cine for PP8).
DaVinci ResolveProject Settings → Color Management → Open LUT Folder → copy the file → refresh. Right-click your clip → LUT.
Premiere Pro / Final CutLumetri Color → Basic Correction → Input LUT → Browse. In FCP: Custom LUT effect → Choose Custom LUT.
OBS Studio / vMixAdd the "Apply LUT" filter to your camera source and select the PNG version.

WORKS WITH: DAVINCI RESOLVE · PREMIERE PRO · FINAL CUT PRO · CAPCUT · ATOMOS · OBS STUDIO · VMIX

Camera setup

Squeeze the full dynamic range

Log only pays off when the camera is set up right. Recommended profile, base ISO and exposure per camera:

Camera	Profile	Base ISO	Exposure for max dynamic range
A7 III	PP7 · S-LOG2 / S-GAMUT	800	Overexpose +1.7 to +2 EV to beat 8-bit noise and banding, then bring it back in post.
A7 IV	PP8 · S-LOG3 / S-GAMUT3.CINE	800	Overexpose +1.3 to +1.7 EV; set clip zebras at 94%. Record 10-bit 4:2:2 (XAVC S-I if possible).
A7 V	S-LOG3 / S-GAMUT3.CINE	800 / 8000	Use 800 with light; in low light jump straight to the 8000 base — ISOs in between are noisier.
FX3	S-LOG3 · CINE EI	800 / 12800	Expose at base ISO. Lower EI (e.g. 400 at base 800) buys cleaner shadows for one stop of highlights.
FX30	S-LOG3 · CINE EI	800 / 2500	Favor the low base; the high base has less highlight headroom on the S35 sensor.
FX6	S-LOG3 · CINE EI	800 / 12800	Expose with the internal variable ND, never by raising ISO while ND is available.
FX9	S-LOG3 · CINE EI	800 / 4000	Monitor through s709, expose with ND; +1 EV of margin is safe.

Universal rules: never go below base ISO (you lose highlights and gain nothing), control light with ND filters instead of ISO, and lock white balance — auto WB makes footage much harder to grade.

Why free

Because this is mathematics, not magic

Online stores charge $15–50 for "conversion packs" that are simply Sony's published curves behind a paywall, while the official technical LUTs stay buried across support portals. Log-to-Rec.709 conversion is standard, documented color science — so this project implements it in the open, free forever, under the MIT license. If you find a color-science error, open an issue: accuracy is the whole point.

FAQ

Common questions

Why does my Sony footage look washed out and grey?

Log profiles (S-Log2, S-Log3) intentionally record flat and low-contrast to preserve maximum dynamic range. A conversion LUT maps that signal to Rec.709 — the standard your screen uses — restoring normal contrast and color. That's exactly what these LUTs do.

Are these really free? What's the catch?

No catch. MIT licensed, no email, no upsell. The conversion is published mathematics and the generator code is open source — anyone can verify it.

Which picture profile should I use on my camera?

A7 III: PP7 (S-Log2) at base ISO 800, or PP10 (HLG) for minimal grading. A7 IV and newer: PP8 (S-Log3 / S-Gamut3.Cine) at base ISO 800. Then apply the matching LUT from the pack.

Do these work with 8-bit footage?

Yes — the A7 III pack is specifically tuned for 8-bit, with smooth curves that avoid the banding common when grading 8-bit Log.

How is this different from paid "cinematic" LUT packs?

These are technical conversions: they put your footage in the correct starting point for grading (or straight to delivery). Creative looks are subjective — accurate conversion isn't, and it shouldn't cost money.