Gene Sung put that BertLUT ArriLook 709 for Sony FS7 to the test and placed it side by side with footage from the ARRI Amira for evaluation.
BertLUT ArriLook 709 for Sony FS7 / Amira Side by Side from Gene Sung on Vimeo.
BertLUT ArriLook 709 for Sony FS7 / Amira Side by Side
Bert Degraeve came up with two excellent LUTs (Standard and FilmLike) for the Sony FS7 which attempts to emulate the Arri color space. While the FS7 might not be an Alexa, it’s a pretty great camera for the price and Burt’s LUTs really elevated the color game for the FS7. A poor man's Alexa.
Bert’s original tests can be viewed here.
Arri Amira vs Sony FS7/F5/FS5 from Bert Degraeve on Vimeo.
You can PayPal Bert 25 Euros for the LUTs: bertdegraeve@gmail.com. It’s well worth the money.
I had some Amira / FS7 side by side footage from a while back and I applied Bert’s LUT to the footage and got very good results. One very powerful feature of the FS7 is the ability to accept custom user created LUTs for monitoring and optional baked in output. Aside from the Sony F5 and the upcoming Red Scarlet-W, I believe the FS7 is the only other camera under $20,000 that allows custom LUTs. This is great because any look can be created in camera, especially since the FS7 / Sony sensor is excellent in real world dynamic range. The sky is the limit on in-camera looks..
Great real world DR test between Amira, FS7, Ursa and C300.
NOTES AND OBSERVATIONS
• Modes tested on the FS7 against the Amira which used Arri LogC to Rec709 LUT. In sequence:
– BertLUT ArriLook709 Standard – What Burt intended as the closest match to Arri Rec709
– BertLUT ArriLook709 FilmLike
– Sony LC709a LUT
– Sony LC709a LUT minus on the Blue Channel. My personal choice before BertLUTs for quick turnaround.
– Sony Cine EI with no LUT. Only adjusted contrast and added saturation.
• Lenses used were Zeiss PL 28-80mm t2.9 @ 70mm on the Sony FS7 and Zeiss PL 70-200 t2.9 @ 70mm on the Arri Amira.
• No colors were shifted. Only adjustments to contrast and saturation to make the footage match.
• Bert’s LUTs were largely left alone – No contrast or Saturation added. On some shot, a slight adjustment in exposure to match the Amira’s exposure.
• Since the base ISO of the FS7 is 2000 vs 800 on the Amira, we had to stop down 1 stop on the FS7 to match exposure. Since Arri is King, I tried to match the FS7 to the Amira.
• The shot with the two cars, the Amira was accidentally over exposed a bit, so I just adjusted contrast / saturation by hand with no LUT.
• Bert’s LUTs seem slightly lower in contrast and saturation vs. Arri LogC to 709. Burt’s LUTs colors matched the Amira footage much better and required less contrast adjustments than Sony LC709a which tends to be more contrasty and a bit higher on magenta. Great job on this Bert.
• The native Arri colors are slightly more green than Bert’s LUTs, but quite close.
• The Sony LC709a LUT is a bit magenta. By subtracting a bit from the Blue Channel in post, it greatly improves the skin tones on Sony LC709a.
• While BertLUT Standard is the closest to Amira, On the Sony side, I personally like the BertLUT FilmLike and my personal LC709a Minus Blue preset the most.
In conclusion, great job Bert!