Every LUT Land look comes in four versions: Rec709, S-Log3, V-Log and C-Log3. Picking the right one is the single biggest thing you can do to make a LUT look good. This guide explains the difference in plain English and shows you which one to use for your camera.
What is log footage?
Many cameras can record in a log profile – a flat, grey-looking picture that keeps as much detail as possible in the highlights and shadows. It looks dull straight out of the camera on purpose: it gives you more room to grade.
Each brand has its own log profile:
- Sony: S-Log3 (usually with the S-Gamut3.Cine colour space)
- Panasonic Lumix: V-Log
- Canon: C-Log3
What is Rec709?
Rec709 is the standard for normal HD video – the “finished” look you see on YouTube, TV and phones. Footage from phones, most drones, and cameras set to a standard or vivid picture profile is already Rec709. Read more in What is Rec709?
Which LUT version should I use?
| You shot on… | Use this version |
|---|---|
| Phone, GoPro, most drones, standard camera profiles | Rec709 |
| Sony in S-Log3 | S-Log3 |
| Panasonic Lumix in V-Log | V-Log |
| Canon in C-Log3 | C-Log3 |
| Any log footage already converted to Rec709 (by a camera LUT, colour management or a conversion LUT) | Rec709 |
| A log profile we don’t list (for example S-Log2, D-Log or N-Log) | Convert to Rec709 first with your camera maker’s LUT, then use our Rec709 version |
How the log versions work
Our log versions do two jobs in one: they convert your log footage to Rec709 and add the look. That means one LUT, one node, done – no separate conversion step.
The Rec709 versions only add the look, so they expect footage that already looks “normal”.
Common mistakes
Using a log LUT on normal footage
The result looks crunchy, over-contrasty and over-saturated. Switch to the Rec709 version.
Using a Rec709 LUT on raw log footage
The result looks washed out and grey. Switch to the matching log version, or convert to Rec709 first.
Converting twice
Some editors convert log footage automatically – Premiere Pro’s colour management, Final Cut Pro’s camera LUTs, and Resolve Color Managed projects. If that is switched on, the footage is already Rec709, so use our Rec709 version. If you want to use our log version, switch the automatic conversion off for that clip. Our Premiere Pro, Final Cut Pro and CapCut guide and DaVinci Resolve guide show where these settings are.
Wrong exposure in log
Log footage that is underexposed gets noisy once a LUT is added. Many shooters expose log footage slightly brighter than normal and correct it in the edit before the LUT.
Quick checklist
- Check which profile you shot in (it’s in your camera’s picture profile or the clip’s metadata).
- Pick the matching folder: Rec709, S-Log3, V-Log or C-Log3.
- Make sure your editor isn’t already converting the footage.
- Fix exposure and white balance, then apply the LUT.
- Adjust the strength to taste.
Every look, every format
All LUT Land packs include Rec709, S-Log3, V-Log and C-Log3 versions of every look, so you are covered whatever you shoot on. Browse the LUT packs or get the lot with the All 6 LUT Packs bundle. New to all this? Start with What is a LUT?