If you want to say ‘thanks!’, you can do so by buying Mr. For further tweaking you can use the very handy online tool called LUTCalc. Keep this in mind and try for yourself if these fit your workflow. It’s not for finishing or polishing your footage but to create an instant viewing output for monitoring on set or for a DIT. The original Venice s709 LUT on which these LUTs are based on is intended to create a first pass look. Furthermore, Alister has created some LUTs for use with S-Log2, so users of the original Sony a7s are not left out here. There are LUTs especially desinged for certain monitors such as Atomos or Zacuto ones, too. In order to get closer to that Venice look you should set your camera to S-Log3 and SGamut3.cine. Since that offical LUT has been designed especially for the 15-stop Venice camera it wasn’t the best for all the other 14-stop cameras such the Sony FS-7, FS-5, F5, F55 or the a7 range, anyways. He created those custom LUTs because quite a few users had problems downloading the official LUT by Sony ( link). You can download these bespoke LUTs directly from Alister Chapman’s own site,. Alister Chapman ( ) has created a set of tweaked LUTs to cater for the needs of different Sony cameras and to bring you closer to the Venice look. That’s why the official s709 LUT doesn’t work very well with these lower end cameras (if compared from Venice’s perspective) cameras.
The new Venice flagship cinema camera, however, is a different kind of beast.
Most of Sony’s prosumer to pro cameras sport a dynamic range of about 14 stops.
Want the same look for the more budget-friendly Sony FS7, FS5 or even the a7 series of cameras? Not a problem, Alister Chapman has created a whole bunch of Venice Look LUTs in order to get you closer to that special look. Its (claimed) 15-stop dynamic range and especially its superb highlight roll-off produces beautiful imagery, indeed. The Sony VENICE is a pretty decent piece of high-end filmmaking equipment.