There will always be fans of particular brands.

And you can’t discount the impact the really excellent autofocus is likely to have. The FX9 will likely follow in a similar way but now with much improved image quality and much improved usability. The FS7 is a very good jack of all trades at a great price. The FS7 didn’t become the industry standard that it has because it was the best camera. The lower noise and better sensitivity means it’s easier to get a great result under a much wider range of lighting conditions, whether shooting Log or Custom. The key thing about the FX9 is it’s actually a very easy camera to use. While the FS7 sensor is actually a pretty good sensor overall, the FX9 sensor is much better with a very good colour response, the best in the industry it would seem. Gain and tweaks in the camera can make up for this by boosting weak areas, but can really never make up for colours that perhaps the sensor can’t actually see. The recent ACS tests have revealed what I think lots of us have suspected for a long time which is that the older Sony sensors don’t have a uniform colour response. All a LUT can do is adjust what the camera has captured. Click on the green search button at the top right to open a search window or follow the links in the drop down menus at the top of the page. If you are new to XDCAM-USER.COM please take a look around at the various tutorials, guides, tips and tricks that are hosted here. Here’s the link to the zip file containing the my Venice Look LUT set:Ĭlick Here to download Alister’s Venice Look LUTs V2 Feel free to link back here and share the link, but please don’t distribute these anywhere else. But please don’t host the files elsewhere. If you don’t wish to buy me a coffee, that’s cool. I’m not paid to run this website and every little bit helps and is greatly appreciated.

There are different drink options depending on what you feel is fair, it takes time to prepare these and there are costs associated with hosting the files. If you find the LUT’S useful, please consider buying me a beer or a coffee using the “Buy Now” button below. The LUT’s work best with the PMW-F55 as this has the closest native color to the Venice camera, but I think they work really well on the rest of the Sony range. I have created a set with offsets for both the Zacuto and Small HD viewfinders and monitors and finally I have also created sets of LUT’s for use with S-Log2 so users of the original A7s or those that wish to shoot with S-Log2 on an 8 bit camera are not left out. There are monitoring versions with offsets for use in monitors such as the Atomos range. The bulk of the LUT’s are designed to be used with S-Log3 and SGamut3.cine. There are versions designed specifically for grading in Resolve or other grading suites. This is one of the largest and most comprehensive LUT sets I have ever created. This is what this LUT set mimics, with some tweaks for the lower cost cameras. But, s709 is what comes out of the cameras SDI connectors if you use the default LUT/Look. It would be normal to grade the Venice material, perhaps from scratch rather than using the s709 LUT for the final output. It is not really meant to be the final finished look. An instant viewing output for a DIT or for on set viewing. Of course do remember that the default look and indeed the official s709 LUT was designed as a first pass look. This LUT should NOT be used with Venice as it this LUT is restricted to 14 stops. But these LUT’s should get you close to the default Venice 709 look.

So Venice will always be that one very nice step up.

It won’t magically turn your FS5 into a Venice, there is something very, very nice about the way Venice handles the extremes of it’s dynamic range, plus Venice has Sony’s best colour filters (similar to the F55 and F65). The end result is a LUT that gets you really close to the way Venice looks. So the LUT that I have created is slightly different to allow for this. Venice is a 15 stop camera with a new sensor and as a result the official s709 LUT’s are not quite right for the current 14 stop cameras like the FS5, PMW-F55, FS7 and even the A7 series. These LUT’s have been created using image matching techniques plus some small tweaks and adjustments to make the LUT’s work well with the 14 stop cameras. So after numerous problems for some people trying to download the official Sony s709 LUT for Venice, I decided to create my own Venice Look LUT’s.

Download sony slog3 lut premierefs7