Best LUTs for Sony FX30 (S-Log3 to Rec.709) in 2026
On a Sony FX30, a creative LUT goes on after S-Log3 is converted to Rec.709. In DaVinci Resolve that’s a Color Space Transform node: input Sony S-Gamut3.Cine and Sony S-Log3, output Rec.709 and Gamma 2.4. Sony’s free s709 or 709(800%) LUT does the same job. The FX30 records the same S-Log3 as the FX3, so every S-Log3 LUT made for the FX3 works on it. If you shot S-Cinetone or without Log, skip the conversion and put the look straight after your balance.
A finished look straight on FX30 S-Log3. LOGLINE for Sony S-Log3 puts the Rec.709 conversion and the look in one file, nothing goes in front of it: BASE (clean Rec.709), EMBER (warm film), STAKEOUT (cold thriller), MATINEE (film print). 65 point files for grading, 33 point files for the camera and CapCut, separate sets for S-Gamut3.Cine and S-Gamut3. $15.
FX30 S-Log3 to Rec.709 LUT: which one goes where
| How it was shot on the FX30 | Step 1: convert to Rec.709 | Step 2: creative LUT |
|---|---|---|
| S-Log3 with S-Gamut3.Cine (Cine EI, Flexible ISO or a picture profile set to S-Log3) | Resolve: Color Space Transform, input Sony S-Gamut3.Cine and Sony S-Log3, output Rec.709 and Gamma 2.4. Or Sony’s s709 or 709(800%) LUT. Or LOGLINE, which does both steps | Its own node after balance |
| S-Log3 with S-Gamut3 (no .Cine) | Color Space Transform with Sony S-Gamut3 as input, or the S-Gamut3 set in LOGLINE. A LUT built for S-Gamut3.Cine gives the wrong color here | Its own node after balance |
| HLG | Color Space Transform: input Rec.2020 and Rec.2100 HLG, output Rec.709 and Gamma 2.4 | After the conversion |
| S-Cinetone | None: it’s already a finished Rec.709 image | Straight after balance |
| No Log, no picture profile | None | Straight after balance |
Not sure which gamut you recorded? Open the clip’s metadata in Resolve or Catalyst Browse, or check the Color Gamut setting in the camera menu or inside the picture profile.
FX30 or FX3: does the same LUT fit?
Yes. Both cameras record the same S-Log3 curve and the same S-Gamut3.Cine and S-Gamut3 gamuts, so the conversion and the look are the same file. What differs is the sensor. The FX30 has a smaller Super 35 sensor with base ISO 800 and 2500 in Cine EI, and in dark scenes it shows noise sooner than the full frame FX3. Two habits help:
- Expose S-Log3 a little brighter, then bring it back down on the balance node before the LUT. A creative LUT adds contrast and makes shadow noise more visible.
- Use the 2500 base at night instead of pushing ISO 800. Cleaner shadows mean a cleaner look after the LUT.
Which GradeColor packs fit
LOGLINE is the only pack that goes straight on S-Log3. Our other packs expect regular Rec.709 video, so with them the conversion comes first:
- HAVANA: soft, warm film with matte blacks. For interviews, portraits, weddings and golden hour.
- COLD START: cool shadows and warm highlights, classic teal and orange. For landscapes, road trips and cars. Skin on close-ups turns cool, so for people HAVANA works better.
- NEON MILE: night city, blue-violet shadows and warm lights. It brightens dark frames a lot, so use it on night footage.
- ASPHALT: dark, cold blue with muted saturation. For the city, metal, cars and night interiors.
Each of these packs is $9 and carries the same look for photos: .xmp for Lightroom and .dng for the free Lightroom app on your phone. On video the color lands close to the stills, not identical: the LUT is built separately for the same look.
How to apply the LUT
DaVinci Resolve
- Unzip the archive. Project Settings → Color Management → Open LUT Folder, copy the .cube there and click Update Lists.
- Node 01: Color Space Transform, set up as in the table. With LOGLINE, skip this node.
- Node 02: exposure and white balance.
- Node 03: right-click → LUT → your file. To soften it, lower Key Output Gain on that node, for example to 0.7.
Premiere Pro and Final Cut Pro
In Premiere Pro 2025 and later, check log auto-detection in the Lumetri settings first: when it’s on, the clip already arrives as Rec.709, and a second Sony LUT converts it twice. In Final Cut Pro, choose “S-Log3/S-Gamut3.Cine” in the Camera LUT menu of the Info tab, then add the Custom LUT effect with our .cube. Both editors are covered step by step in the Sony FX3 LUT guide: the steps are identical for the FX30.
In the FX30 itself
The FX30 takes your own LUTs at 17 or 33 points for monitoring. Put the file on the SD card in PRIVATE/SONY/PRO/LUT, then import it under Manage User LUTs in the Color/Tone menu. Keep the camera firmware up to date. LOGLINE includes 33 point files for exactly this. In Log mode the recording itself stays S-Log3: the LUT only changes what you see on screen.
Common mistakes
- A creative LUT straight on S-Log3. The image stays grey and milky. Convert to Rec.709 first, or use LOGLINE.
- The wrong gamut. The camera recorded S-Gamut3 and the conversion is set for S-Gamut3.Cine, or the other way round. Skin and greens shift.
- Underexposed S-Log3. On the Super 35 sensor dark Log footage gets noisy after the LUT. Expose brighter and correct before the LUT.
- Converting twice in Premiere. Log auto-detection is on, and a Sony LUT sits on top. Keep one of the two.
- Balancing after the LUT. Fix exposure and white balance before the LUT, not after.
FAQ
What LUT do I need for the Sony FX30?
Usually two: a technical one that converts S-Log3 to Rec.709 (Color Space Transform in Resolve, Camera LUT in Final Cut Pro, or Sony’s free s709 and 709(800%)), and a creative one for the look. LOGLINE for Sony S-Log3 does both in one file. If you shoot S-Cinetone, you only need the creative one.
What is the best S-Log3 to Rec.709 LUT for the FX30?
For a neutral picture, Sony’s 709(800%) or a Color Space Transform in DaVinci Resolve: both are free and accurate. s709 is softer and already works as a look. For the conversion and a finished look in one file, use LOGLINE for Sony S-Log3, whose BASE look is a clean Rec.709 version.
Do FX3 LUTs work on the FX30?
Yes. Both cameras record the same S-Log3 with S-Gamut3.Cine or S-Gamut3, so any S-Log3 LUT for the FX3 fits the FX30 as long as the gamut matches.
Can I load a LUT into the FX30?
Yes, a 17 or 33 point .cube file from the SD card folder PRIVATE/SONY/PRO/LUT, through Manage User LUTs. It’s used for monitoring; in Log mode the file is still recorded as S-Log3.
Should I shoot S-Log3 or S-Cinetone on the FX30?
S-Log3 if you will grade in the edit: it keeps more room in highlights and shadows. S-Cinetone if you need a nice image fast with little editing: a creative LUT goes straight on it.
Other cameras and guides
- LUTs for Sony FX3 (S-Log3): the full guide, with menu paths and editor steps.
- LUTs for Blackmagic.
- LUTs for DJI Osmo Pocket 3 (D-Log M).
- What a .cube file is: 17, 33 and 65 points.
Try it free
The starter pack needs no card: five looks for photos and two LUTs for video, just an email address. Its LUTs are 17 point, so the FX30 will take them in camera. Get the starter pack. Full catalog: here.
GradeColor packs: a Lightroom preset, a .dng for your phone and a LUT for video in one look, from $2.99.