EOSHD-Film-LUT-Guide

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EOSHD Film LUT Pack for 
SLOG2
Guide by Andrew Reid
Introduction
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Thank you for purchasing the EOSHD Film LUT Pack.
SLOG2 on Sony cameras is a powerful tool, which takes the maximum dynamic range from the sensor and 
widest colour gamut, compressing it into a convenient 4K XAVC-S recording format.
Taming the beast
SLOG2 is also an insane McLaren P1 of the picture profiles world, a picture profile so powerful that it 
needs expert handling during a shoot and in post.
Contents
Included with this guide are the 10 cinematic looks for SLOG2 by EOSHD. These EOSHD Film LUTs are 
unique and only available here. The files have the extension .cube and are provided in the ZIP file you 
opened to read this guide. Please save these in a folder on your computer. The subjects covered are -
1. The Picture Profile Settings
2. The EOSHD Film LUTs
3. Applying the LUT in your edit
4. Applying the LUT using EditReady / transcoding to 10bit ProRes
5. Shooting with SLOG2 and EOSHD Film LUTs
Also available
EOSHD Pro Color is a highly optimised in-camera colour-path for your Sony camera. Get away from the 
default settings and fix a host of colour issues. Available now from EOSHD -
http://www.eoshd.com/2016/11/now-available-eoshd-pro-color-for-sony-cameras-including-a7s-ii-a7r-ii-
and-a6300
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The Picture Profile Settings
If you’re not familiar with shooting SLOG2, cycle through the Sony main menus on your camera until you 
see the option for Picture Profile. Select the Picture Profile menu and a range of tabs named PP1 through 
7 or 9 will appear. By default SLOG2 is assigned to one of the Picture Profile slots, usually PP7. It can 
occupy any slot number.
The Picture Profile for SLOG2 should be selected and settings should show as follows -
SLOG2 is an ultra flat image profile with low contrast and the maximum dynamic range from the darkest 
shadows to the brightest highlights. EOSHD Film LUTs work with all footage shot with the default SLOG2 
profile. I also offer a way to fine-tune these settings on the A7S II, A7R II and A6300 using EOSHD Pro 
Color (read more).
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The EOSHD Film LUTs
Included in this purchase are the 10 Film LUTs by EOSHD. Each is expertly designed to give a distinct look 
and feel to footage shot on Sony cameras with the SLOG2 Picture Profile.
Here’s a description of each LUT -


1. EOSHD Chrome
A classic cinematic look with wide dynamic range, silky smooth shadows, naturally muted colours open to 
a saturation boost if required, no colour cast bias to warm or cold.
2. EOSHD Scarlett 1
A velvia style film profile for extra punch, gives a warm cast and smoother skintones.
3. EOSHD Scarlett 2
Scarlett 2 is Scarlett 1 off a leash! Beautiful raised blacks with a less restrained saturation of red tones.
4. EOSHD Teal & Orange
Maintains cool tones and warm tones in one shot. Great for when you have a mix of lighting in the scene.
5. EOSHD Vivid Skintones
Gives a Canon-like energy and vitality to skintones. Gives talent a more flattering treatment in 4K.
6. EOSHD Plainview
Optimised for green tones, reduces the magenta cast of Sony cameras.
7. EOSHD Pull
Shifts an overexposed shot down to rescue the highlights.
8. EOSHD Noir 1920
A retro black and white look with raised black levels.
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9. EOSHD WideDR1
Maximum dynamic range from the sensor with a beautiful warm bias to shadows, skin and faces.
10. EOSHD WideDR2
Maximum dynamic range with a more neutral colour balance.
What is a LUT?
Creatively, LUTs are simply ‘looks’ which you can apply to footage in post to get a certain style or mood. A 
LUT changes the contrast, colour balance and saturation of the image.
Technically speaking LUT stands for Lookup Table. The file contains a table of numbers that apply 
mathematical transformations on the digital ones and zeros which describe each frame recorded by the 
camera in XAVC-S, altering the appearance of the image.
For the LUT to work properly, SLOG2 applies a logarithmic gamma curve in-camera - that means low 
contrast and low saturation. SLOG2 is not a final look, rather a recording format and a technique to 
compress the maximum dynamic range into XAVC-S footage.
A LOG format like SLOG2 is not the same as RAW. With RAW the uncompressed and unprocessed 
sensor data is packed into the file for processing later by a computer rather than the camera’s image 
processor.
Grading S-LOG 2 can be a complicated specialised task, a role rarely the sole job of the filmmaker. That’s 
why we use LUTs to quickly apply looks generated by a professional colourist to scenes in the edit.

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Applying the LUT in your edit
For your editing software I recommend using Adobe Premiere as it has the best support for LUTs of all the 
mainstream NLEs. If you do not have Adobe Premiere I recommend Davinci Resolve 12 Lite.
In Adobe Premiere CC
1. In Premiere add the Lumetri Color filter to your clip. This is found in the Effects panel.
2. Inside the Effects Control panel for the Lumetri filter, open Basic Correction with the down arrow.
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3. Click the Input LUT box and browse to the EOSHD LUT .cube file corresponding to the look you’d like 
use.
4. If you wish to make use of the additional adjustments in the Creative section of Lumetri Color, add the 
EOSHD LUT as a Look in that section instead of in the Basic Correction area.
5. You can use Copy and Paste Attributes to apply the same filter to every clip on the timeline or a 
selection of multiple clips.
In Blackmagic DaVinci Resolve
1. Copy the EOSHD Film LUT .cube files to Resolve’s LUT folder*
2. In Resolve on the Color screen bring up the timeline of clips and simply right click the clip.
3. In the menu which appears go to 3D LUT and browse to the EOSHD LUT file corresponding to the look 
you’d like to use.
4. You can use Copy and Paste to apply the look to all the clips on the timeline.
5. Alternatively you can apply an EOSHD LUT in the project settings window. Note that this effects all clips 
and all timelines in the project.
* The LUT folder location varies depending on your PC or Mac. Locate this folder by typing “resolve LUT 
folder” into Google and following the instructions which match your individual system, OS and version of 
Resolve installed.
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Applying the LUT using EditReady
I highly recommend EditReady for transcoding Sony XAVC-S 4K footage to ProRes. This format is more 
fluid to edit, giving less jerky playback on the timeline.
ProRes files take up a lot of room on the drive but they maintain all the quality of the original recording and 
allows for excellent colour correction.
EditReady is great as not only is it fast and easy to use, it is feature packed. One option allows you to 
apply a LUT to the footage so that the ProRes output is treated with a particular EOSHD Film LUT.
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Instructions
1. In EditReady the option to apply a LUT is in the Additional Options menu.
2. Click the Edit button in the right hand side panel before you convert the clips and tick the box next to 
the LUT option.
3. When you press OK it will ask for the LUT file in the right hand-side panel.
4. Click the icon which looks like a stack of papers next to this and choose the EOSHD LUT file of your 
choice.
EditReady is a very affordable app and is well worth purchasing from the link below:
http://www.divergentmedia.com/editready

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Shooting with SLOG2 and EOSHD 
Film LUTs
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You must aim to over-expose by 1.5 to 2 stops on the exposure meter. Any graphical meter on the display 
should be approximately 2 positions “to the right” or the “M.M” readout on the display should show 1.5 to 2. 
This is the optimal exposure for SLOG2 in most cases. In other cases you should just avoid blowing out 
the highlights. Always avoid a darker exposure with SLOG2. It is not designed to be exposedto the centre 
or left of the exposure meter. When the final look is applied 
via the LUT file in post, the brightness of the footage will 
darken but exposure should remain balanced and not too 
dark. Raising the shadows in SLOG2 results in poor image 
quality and heavy noise.
SLOG2 raises the minimum ISO sensitivity you can shoot at 
on all Sony cameras 800 or higher. In some cases like on the 
original Sony a7s, the minimum ISO leaps to 3200. 
Therefore in bright light and at fast apertures you should use 
an ND filter on the lens. Sometimes even a shutter speed of 
1/8000 isn’t enough to stop highlights blowing at ISO 1600 or 
3200. I recommend the ND filter approach because 
increasing shutter speed changes the look of the image by 
eliminating motion blur. This may be suitable for a fight scene 
or fast action shooting but it doesn’t suite many of the 
scenes typically found in narrative or documentary work. The 
optimal shutter speed for 24p or 25p is 1/48 or 1/50. When 
increased to 1/100 or faster, the look of movement turns 
staccato.
EOSHD Film LUTs are designed only for SLOG2 and will not work optimally with SLOG3. I avoid using 
SLOG3 as it generates ugly banding and posterisation on blue skies and painted interior walls.
To further optimise SLOG2, explore EOSHD Pro Color at the link below:
http://www.eoshd.com/2016/11/now-available-eoshd-pro-color-for-sony-cameras-including-a7s-ii-a7r-ii-
and-a6300