On top of that, this LUT gives you the unique possibility to burn the correct Gamma right into your external recordings. Essentially, it recovers any Slog 2 or Slog 3 files recorded externally, and gives you back a true Slog image with the cameras full dynamic range. Here is better way to fix the Slog Problem at any stage of your workflow, and it’s the fastest we have found in the form of our very first official C5D LUT.
There is a recovery of about 1 stop of dynamic range in the highlights. The Slog Fix LUT also fixes external recordings in F Log from the Fujifilm X-T2. You do not need this on the Convergent Design Odyssey Recorder as their latest firmware provides a fix in the form of a “Legalize HDMI” function you will find in the INPUTS menu. There is a fix that involves either DaVinci Resolve or level filters in Premiere that I described here, but these can impact your rendering time considerably. This phenomenon has been the main reason why some people have avoided using external recorders with these cameras. Basically, the contrast information is saved incorrectly on external recordings via HDMI, thus defeating the whole purpose of a standardized Slog Gamma. The Slog Problem Explainedīack in March, I wrote a scientific article on the crushed blacks phenomenon concerning the Sony a7S, Sony a7S II, Sony a7R II and Sony a6300 cameras. This LUT can be applied either during external recordings or even in post and give you back the full dynamic range of a true Slog image. But we’ve developed an extremely easy fix. The famous Slog problem cuts off blacks and highlights and gives you a wrong Slog 2 or Slog 3 image.
keyboard_arrow_rightCameras of the YearĮxternal recordings on Sony a7 series cameras are awesome for several reasons, but unfortunately the image is crushed and there can be a loss in dynamic range when recording externally via HDMI.keyboard_arrow_rightGear Guides by Budget.keyboard_arrow_rightGear Guides by Type.
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