S-Log3 is the flattest-looking format most people meet: milky, low contrast, and with lifted blacks that look wrong straight out of the camera. That is deliberate — it is protecting about as much dynamic range as a consumer camera can record.
Sony A7, FX, ZV series
Our decode inverts the S-Log3 curve and then converts S-Gamut3.Cine to Rec.709. That second step is what most free “S-Log3 LUTs” skip, and it is why so many of them leave skin looking slightly radioactive. Every look pack on this site can bake this conversion in — pick S-Log3 as your footage type before you download. Sony’s own SL3SG3Ctos709.cube also goes from S-Log3 / S-Gamut3.Cine to Rec.709, but renders Sony’s s709 look on the way; ours is a neutral conversion from Sony’s published S-Log3 formula. A LUT from here already contains its decode, so it replaces Sony’s file in the chain rather than following it — stacking the two decodes twice.
Both halves live inside the .cube you download, so the conversion cannot be forgotten, applied twice, or stacked in the wrong order — the three ways log grades usually go wrong.
Underexposing. S-Log3 puts middle grey high and its shadows are thin, so footage exposed “correctly” by the meter tends to come back noisy. Most Sony shooters rate it one to two stops brighter and pull it down in the grade.
S-Log3 is the flattest thing your camera can record, and it is meant to be. These six bake the full S-Log3 and S-Gamut3.Cine conversion — transfer curve and gamut, not just the curve — into a single .cube, so one node takes you to a correct image instead of a stack of technical LUTs. The conversion is a neutral one, built from Sony’s published S-Log3 formula, with a finish on top. It is not a copy of Sony’s SL3SG3Ctos709.cube, which renders Sony’s own s709 look — use one or the other, not both.
Because it has not been decoded yet. S-Log3 stores far more dynamic range than a normal picture profile by recording a flat, low-contrast signal — that is the point of it. A conversion to Rec.709 maps it back to an image meant to be looked at.
Not here. Pick S-Log3 as your footage type before you download and the S-Log3 → Rec.709 conversion is baked into the same .cube as the look, so it is one node in Resolve or one adjustment layer in Premiere.
Sony A7, FX, ZV series. If your camera records S-Log3, these conversions apply to it.
All 175 grades in the library can bake a S-Log3 conversion in — choose S-Log3 as the footage type before downloading and it is written into the .cube. The free conversions at https://ireelz.com/luts/free are authored for specific cameras, so use those if you shoot one of them.
It is Sony’s own S-Log3 / S-Gamut3.Cine to Rec.709 conversion LUT, shipped with their cameras and software. Not with ours: every .cube here already carries its own conversion — curve and gamut, a neutral one from Sony’s published formula — inside the file, so you apply one LUT, not Sony’s and then a look.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.