The A7SIII, FX3 and FX6 are game changing cameras, with incredible features, image quality and lowlight capability all in a super compact form factor.
The Sony colour science has really come a long way but I still felt there was room for improvement.
To me, the gold standard for colour science is still to be found in the ARRI Digital Camera family, and so using my own ARRI Amira as a benchmark, I developed a LUT that reverse engineers the colour science of the Alexa709 LUT, which I’ve always found to look filmic and natural, straight out of camera; The result is my ‘Phantom Neutral LUT’.
The 'ARRI Looks’
The 'Film Looks'
Camera Compatibility:
A7SIII LUTs - A7SIII, FX3, A7IV, A7C, A7CII, ZV-E1
FX6 LUTs - FX6, FX30, A7CR, A7RV, A1, A9, A6700, ZV-E10II
‘ARRI Look’ 5 Pack - $49 USD
‘Film Look’ 6 Pack - $49 USD
All 11 In One Bundle (Most Popular) - $79 USD
The ARRI 5-Pack
Along with the emulation LUT, there are 4 creative variation LUTs that come with it packaged as the ARRI LUT 5 Pack.
The ‘ARRI Look’ LUT pack was developed alongside my ARRI Amira (later my Alexa Mini) to first and foremost provide a way to emulate the Alexa709 LUT with the ‘Neutral LUT’. Included with Alexa709 Emulation LUT are four look LUTs to act as creative variations and alternatives for further colour grading options. The FX6 sensor is very similar to the A7SIII and FX6 specific versions are included with the A7SIII LUTs as a package deal.
Comparing my LUT’s Characteristic Curve to the Alexa 709 LUT (NOT the Arri709 LUT) you can see they’re practically identical right down to the 10 bit values and middle grey IRE level. Ensures for very simple and intuitive matching with the Alexa. This curve is the backbone of the Alexa look largely responsible for the silky smooth tonality which makes it famous.
The 5 ARRI LUTs Described Below:
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Developed to emulate the Alexa Rec709 LUT as close as technically possible.
Featuring immaculate Alexa-like skin-tone reproduction.
Drastically Improved colour accuracy with all primary colours and skin tones for a clean, neutral starting point for grading
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A slightly warmer golden cast designed to be utilised for subjects bathed in tungsten light.
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Ice Blue - Blue, colder cast with punchy, deep blues (looks amazing on subjects with blue eyes).
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Green and gold cast - distinctive, rich, filmic greens and beautiful golden skin tones.
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A crowd favourite and the most filmic look of the LUTs, with blood red reds and filmic blues and greens. It’s my personal take on what Utopia would look like.
The FILM 6-Pack
For the nostalgic among you, I have developed 6 Film Emulation LUTs that each emulate film stocks from the past.
The ‘Film Look’ LUT Pack contains 6 LUTs inspired by real film stocks designed to give your S-Log Footage the Film Look. The emulations are based on my own research and subjective impressions of the film stocks listed.
The 6 FILM LUTs Described Below:
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‘Vision’ - Modelled on Kodak Vision 5274
Shot on: The Matrix, Lord of the Rings Trilogy, Gladiator
The most colour accurate stock with accurate blues, slightly cool greens, accurate skin tones which slightly skew pink/gold
Strong contrast and filmic subtractive colour model in saturation
Gentle roll off and rich, smooth fall off in shadows
Skews green in shadow areas and when underexposed
Classic film character but less stylised than any other stock
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‘Vision Teal’ - Variation on Kodak Vision 5274
Subtle Orange/Teal colour scheme.
More stylised version of ‘Vision’. Less realistic - ‘prettier’.
Greens are slightly warmer, blues slightly turquoise and skin more golden.
Overall lift in saturation and contrast compared to ‘Vision’ but still balanced.
Can elevate a dull scene with its look but not overpower a rich scene.
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‘Eastman’ - Modelled on Kodak Eastman 5247
Shot on: Apocalypse Now, Bladerunner, Alien, ET
Vintage, dated Kodak look and feel.
Saturation strongest in mids and falls off in shadows and highlights.
Greens skew warm, blues slightly turquoise, gold/pink skin-tones.
Smoother contrast than modern stocks.
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‘Eastman RM’ - Variation on Kodak Eastman 5247
Classic Eastman Look but modernised (Orange & Teal)
Greener in cast than the more magenta original Eastman 5247
Modelled on the Re-Graded versions of classic films from 70s & 80s
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‘Eterna’ - Modelled on Fuji Eterna 8563
Shot on: Captain Phillips, Wall Street: Money Never Sleeps, The Butler
Overall smoother contrast and rolloff compared to Kodak.
Rich but not overpowering colours and saturation characteristics.
My go-to for Fashion and Beauty but can work with almost anything.
Very flattering skin-tones.
Greens are cool and rich, skin is golden, blues skew turquoise and modern, colour accurate yellows compared to Kodak.
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‘Bleach’ - Modelled on Fujifilm Super F 8552
Shot on:Munich, War of The Worlds, Crash
Modelling the Bleach Bypass process for strong contrast and low saturation.
Aggressive, gritty look - halfway between black and white and colour film.
Great for War Films, Crime, Urban Fashion.
Works especially well with heavy film grain.
Camera Compatibility:
A7SIII LUTs - A7SIII, FX3, A7IV, A7C, A7CII, ZV-E1
FX6 LUTs - FX6, FX30, A7CR, A7RV, A1, A9, A6700, ZV-E10II
What’s in the box?
This pack includes LUTs for both A7SIII & FX6, as well as a detailed ReadMe PDF.
A7SIII LUTs
65x High-Resolution editing LUTs (S-Log2 and S-Log3)
33x Monitoring LUTs (for use monitoring or in-camera)
ATOMOS Monitoring LUTs (designed to fix colour issues with older ATOMOS Monitors)
Legacy Variations on each LUT (features Sony’s older gamma curve)
Wide Dynamic Range Pre-LUT
FX6 LUTs
65x High-Resolution editing LUTs (S-Log3)
33x Monitoring LUTs (for use monitoring or in-camera)
ATOMOS Monitoring LUTs (designed to fix colour issues with older ATOMOS Monitors)
Legacy Variations on each LUT (features Sony’s older gamma curve)
Wide Dynamic Range Pre-LUTs
Detailed ReadMe PDF with recommended settings
Compatible with most editing software on Mac, PC and iOS including:
Davinci Resolve Studio (All Versions)
Adobe Premiere Pro (All versions)
Final Cut Pro (All Versions)
Avid Media Composer
CapCut
Capture One
LumaFusion
KineMaster
The images below are taken from video projects that were colour graded with Phantom LUTs.
