You know the pain...
You’re filming fast. Events, weddings, travel bangers or social content.
You’ve got to move. You don’t have time for looking at histograms & zebras.
Your Sony's up. You hit record.
Then S-Log3 hits you with reality.
Flat.
Washed out.
Zero contrast.
Colors are dead.
Yes, Sony gives you Rec709 Display Assist. It helps a little. The image is less ugly. But it does not fix the real problem. It does not correct the exposure preview.
Especially when you’re overexposing S-Log3 by a stop or two to get the most dynamic range. What you see on your screen still looks wrong. You’re flying blind.
Why Is Monitoring S-Log3 So Annoying?
Here’s the real problem.
What you see on the screen isn’t what you’re actually ending up with (after color grading)
Sony FX3, FX30, A7SIII, A7CII.
Basically every camera that shoots Log.
They all have this "issue" (technically it's correct, but in real life it sucks)
If you want to capture maximum dynamic range, you need to overexpose S-Log3. But then your monitor just shows you a blown-out mess, even though your exposure is technically right.
So you start using histograms and zebras for everything.
You double check. You second guess. You fiddle with settings instead of filming.
And when you’re shooting run & gun, speed is everything.
You miss moments if you hesitate.
You can’t waste time reading your waveforms when the shot is happening now.
The Hidden Power of Display LUTs
Many creators ignore this feature.
Your Sony lets you load a custom Display LUT.
You can see a preview of your final look, live, while recording in S-Log3.
Sounds like a dream, right?
But here’s the catch.
Most LUTs just add a basic look or a little contrast.
They don’t fix your exposure.
If you overexpose S-Log3 like you should, the preview is still off.
You’re still guessing.
You’re still not sure if your shot will look good.
Why I Built My Own LUT
I got sick of that.
I wanted to trust what I saw on my Sony FX3 screen.
So I made a display LUT that does both:
It corrects your overexposed S-Log3 footage right on the display.
And it gives you a punchy, cinematic preview look at the same time.
No more blown-out previews.
No more guessing.
Shoot Faster, Worry Less
The right Display LUT changes everything for run & gun filmmakers.
You set your exposure.
You see an image that looks close to the final result.
You stop wasting time with histograms and zebras.
You shoot more. You catch more moments.
No surprises in post.
Perfect for weddings.
Perfect for events.
Perfect for social media, travel, or any shoot where you don’t have a second to lose.
The Solution: S-Log3 Display LUTs for Sony
If you want to stop fighting your camera monitor and just focus on shooting, check out my
Sony S-Log3 Cinematic LUT Pack
You get creative grading LUTs too.
But the real gamechanger is the custom display LUT. It fixes your S-Log3 preview instantly on Sony FX3, FX30, A7SIII, A7CII and more. You know what you’re getting before you even hit record.
Get the perfect Display & Color Grading LUTs
More confidence.
Less stress.
Better results every single time.
Q&A – S-Log3 Monitoring for Run & Gun Filmmakers
Why do I need to overexpose S-Log3?
That’s how you get the most dynamic range. If you underexpose, your footage gets noisy and flat in post.
Doesn’t Sony’s Rec709 Display Assist solve this?
Not really. It adds contrast, but doesn’t fix the exposure preview if you’re overexposing for S-Log3. The image still looks wrong.
Which cameras does your LUT work with?
Sony FX3, FX30, A7SIII, A7CII. Just load it as a Display LUT and you’re good to go.
Is this useful for fast-paced shoots like weddings or events?
Absolutely. You see a real, corrected preview on your monitor, so you can react fast and trust what you see.
What else is in the LUT pack?
You get creative grading LUTs, but the real hero is the display LUT that finally makes S-Log3 easy to monitor on set.
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