Coloring FS7 slog3 4K footage

V2 Fs7 Slog3 Clean 960

While waiting for my Sony FS7 test unit to arrive from Vistek Toronto, I had a chance to get my hands on various files off the internet and found one in particular shot by DP Tuomas Hakal that I enjoyed grading and felt really showed some of the capabilities of what could be done with the footage from this new camera which is all the rage lately.

Coming from the F55 I am thoroughly impressed with the footage from this camera so far. I feel the images are very close to the F5 and F55 and the FS7 doesn’t seem to leave a lot left to be desired. It’s size and feature-set borrowed from its CineAlta cousins make a very feature rich and high quality camera for the price making it very suitable for event coverage, run and gun, broadcast and film.

I’ve been using Davinci Resolve for two years now grading projects shot on RED EPIC, Sony F55 and also various Canon cameras. Going into this I wasn’t expecting any major surprises with the FS7 footage and really expected it to behave the same, or similar to the F5 or F55 camera.

Shown here is the original slog3 DXP frame shot by DP Tuomas Hakal as well as a final graded version. I was after somewhat of a muted color palette with emphasis on a little more contrast than perhaps was shot in the original scene:

I did not use any 3rd party plugins to grade this image. It was done by hand using approximately 10-12 nodes. I did however use the Kodak 2383 LUT which is designed for Cineon based log curves and one of the reasons I have become a fan of the slog3 gamma curve since its near identical to the Cineon curve making it compatible with existing Cineon based workflows as well as LUTs.

I felt overall the image data held up quite well. It was quite easy to break the codec in the shadows when doing certain color passes so I had to scale back some of my adjustments. In this frame there are a lot of different color temperature light sources which I did not spend too much time to correct by desaturation or editing highlight level balance.

Approximately 12 nodes in total to grade this frame as seen here:


I’ve put together a color correction breakdown video as well for those curious to see the build up of layers and nodes.

Where to get Kodak LUTs? They are now included with Davinci Resolve version 10 and up. If you are not using Davinci Resolve you can download the LUTs separately from here:

Download Juan Melara’s Print Film (Kodak and Fuji) emulation LUTs:

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