Best LUTs for Sony FX3 / FX30 (S-Log3) in 2026
On a Sony FX3 or 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. If you shot S-Cinetone or without Log, skip the conversion and put our .cube straight after your balance. There is also a shorter route: the LOGLINE pack, with the conversion and the look in one file.
A finished look straight on 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 for the camera and CapCut, separate sets for S-Gamut3.Cine and S-Gamut3. $15.
Our other packs expect regular Rec.709 video, so with them the technical conversion comes first and the look second. The conversion costs nothing: it’s built into DaVinci Resolve and Final Cut Pro, and Sony’s own LUTs for it are on Sony’s website.
S-Log3 to Rec.709 LUT: which one goes where
| How it was shot on the FX3 or FX30 | Step 1: convert to Rec.709 | Step 2: creative LUT |
|---|---|---|
| S-Log3 with S-Gamut3.Cine: Cine EI, Cine EI Quick, Flexible ISO or picture profile PP9 | 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. In Final Cut Pro: Camera LUT “S-Log3/S-Gamut3.Cine” | Its own node after balance |
| S-Log3 with S-Gamut3 (no .Cine): PP8, or that gamut in the Log settings | Color Space Transform with Sony S-Gamut3 as input. A LUT built for S-Gamut3.Cine gives the wrong color here | Its own node after balance |
| HLG: PP10 | Color Space Transform: input Rec.2020 and Rec.2100 HLG, output Rec.709 and Gamma 2.4 | After the conversion |
| S-Cinetone: PP11 | None: it’s already a finished Rec.709 image | Straight after balance |
| No Log, no picture profile | None | Straight after balance |
The PP numbers are factory defaults. If you’ve edited your profiles, check the gamma and color gamut set inside the profile itself.
s709 or 709(800%)
Both are built into the FX3 and both are technical: they take S-Log3 to Rec.709. Sony describes s709 as film-like color of the kind preferred in movie and drama work, with smooth gradation and a softer, lower-contrast curve, and 709(800%) as higher contrast with true-to-life color. Our LUTs expect standard Rec.709, and 709(800%) and the Color Space Transform sit closer to that. s709 is already a soft look on its own: our LUT still works on top of it, but as a second layer, so judge the strength by eye.
Which GradeColor packs fit
The LUTs in our packs are 65-point tables. That’s extra precision on skin and smooth skies in the edit, but the camera itself won’t take a file that size. More on that below.
- HAVANA: soft, warm film with matte blacks. For interviews, portraits, daytime weddings and golden hour. The LUT pushes skin saturation up, so pull the strength back on close-ups.
- COLD START: cool shadows and warm highlights, classic teal & orange. Skies and water go teal, greens get denser. 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, which suits night shooting on the FX3, and makes daytime shots too bright. Smooth skies can show banding, so record 10-bit.
- ASPHALT: dark, cold blue with muted saturation. For the city, metal, cars and night interiors.
Each pack 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. All four are in THE BUNDLE with DAKAR and SANDSTORM: six packs for $35 instead of $54.
New for video
The latest LUTs and presets for video, newest first.
beforeafter
beforeafterLOGLINE Apple Log
LUTs straight on Apple Log: film color from iPhone 15 Pro and 16 Pro in one file.
beforeafterLOGLINE Rec.709
Three film looks for Rec.709: after the DJI or Insta360 LUT, for phones and cameras.
beforeafterLOGLINE Insta360 I-Log
LUTs straight on Insta360 I-Log 10-bit: four looks for X6 and Luna.
beforeafterLOGLINE Blackmagic Gen 5
LUTs straight on Blackmagic Film Gen 5: four looks for BRAW and ProRes.
beforeafter
beforeafterNEON MILE
For the city at night: cool shadows, bright lights, opened-up darks.
beforeafter
beforeafterCOLD START
Teal in the shadows and sky, warm highlights. Classic teal & orange.
Other themes
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 from the Effects panel, set up as in the table. Set Tone Mapping Method to DaVinci so highlights roll off gently.
- Node 02: exposure and white balance.
- Node 03: right-click → LUT → your file. To soften it, lower Key Output Gain on that node in the Key palette, for example to 0.7.
Step by step, with the LUT folder paths for Mac and Windows: how to install LUTs in DaVinci Resolve.
Premiere Pro
First check whether Premiere is already converting S-Log3 for you. Versions 2025 and later have log auto-detection in the Lumetri settings (Settings tab): when it’s on, the clip already arrives as Rec.709, and a Sony LUT on top converts it twice. With auto-detection off, stack two Lumetri Color effects: in the first, pick the Sony LUT under Creative → Look; in the second, pick our .cube the same way. Intensity sets the strength.
Final Cut Pro
Select the clips, open the inspector, go to the Info tab and choose “S-Log3/S-Gamut3.Cine” in the Camera LUT menu. Then drag the Custom LUT effect (Effects browser, Color) onto the clip and pick our .cube in it.
In the FX3 itself
The FX3 takes your own LUTs at 17 or 33 points (firmware 2.00 or later). Put the file on the SD card in PRIVATE/SONY/PRO/LUT, then MENU → Exposure/Color → Color/Tone → Manage User LUTs → Import/Edit and pick a slot from User1 to User16. The camera won’t accept our 65-point pack LUTs. You can make a 33-point copy in DaVinci Resolve: put a Color Space Transform and our LUT on an S-Log3 clip, then right-click the clip on the Color page → Generate LUT → 33 Point Cube. You get one “S-Log3 to look” file for the camera’s screen. In Log mode the recording itself stays S-Log3.
Common mistakes
- A creative LUT straight on S-Log3. The image stays grey and milky, and the colors drift. Convert to Rec.709 first.
- 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. Check the Color Gamut setting in the camera or the profile.
- Converting twice in Premiere. Log auto-detection is on, and there’s a Sony LUT on top. Contrast goes harsh and colors oversaturate. Keep one of the two.
- Cine EI without an exposure fix. In Cine EI the camera records at base ISO, and the EI only changes the brightness on screen. If you shot with an EI below base, the file is brighter than what you saw. Take that back out on the balance node, before the LUT.
- The LUT won’t load into the camera. It’s a 65-point file. You need a 17 or 33-point copy, as described above.
- Balancing after the LUT. The LUT carries the error along with the color and makes it more visible. Fix exposure and balance before the LUT.
FAQ
What LUT do I need for the Sony FX3?
Usually two. A technical one converts S-Log3 to Rec.709: the Color Space Transform in DaVinci Resolve, the Camera LUT in Final Cut Pro, or Sony’s free s709 and 709(800%) LUTs. A creative one sets the look and goes after it. If you shoot S-Cinetone or without Log, you only need the creative one.
How do I load a LUT into the Sony FX3?
Put a 17 or 33-point .cube file on the SD card in PRIVATE/SONY/PRO/LUT. Then go to MENU → Exposure/Color → Color/Tone → Manage User LUTs → Import/Edit, choose a slot from User1 to User16, the card and the file. You need firmware 2.00 or later. After that, select the LUT in the camera’s LUT list and turn on Display LUT to see it on screen.
Where can I download the s709 LUT for the FX3?
For free on Sony’s website: the s709 Monitor Look and the Sony Look Profiles are in its LUT library. s709 and 709(800%) are already built into the camera. In DaVinci Resolve you can skip the download: a Color Space Transform does the same conversion.
Does the FX3 record the LUT into the video?
Not in Log mode: the recording stays S-Log3. The Embed LUT File setting stores the selected LUT with the file, but it isn’t burned into the picture, and the setting doesn’t work on SD or SDHC cards. You add the LUT in the edit yourself.
Do these LUTs work for the FX30 and A7S III?
Yes, if the footage is S-Log3. The conversion is the same: Sony S-Log3 and the gamut the camera was set to on the input, Rec.709 on the output. After the conversion our LUTs behave the same on any of these cameras.
Do GradeColor packs include a LUT made for S-Log3?
Yes, LOGLINE for Sony S-Log3: four looks that go straight on S-Log3, with the Rec.709 conversion built in, including 33 point files for the camera. Our other packs expect a Rec.709 input: convert first with Sony’s free LUTs, Resolve or Final Cut Pro, then add our LUT on its own node.
What is the best S-Log3 to Rec.709 LUT for the FX3?
For a neutral picture, Sony’s free 709(800%) LUT or a Color Space Transform in DaVinci Resolve: both are accurate and cost nothing. s709 is softer and already works as a look. If you want the conversion and a finished look in one file, LOGLINE for Sony S-Log3 does both, and its BASE look is a clean Rec.709 version.
Other cameras and guides
- LUTs for Sony FX30: S-Log3 to Rec.709 on the Super 35 sensor, exposure and noise.
- LUTs for Blackmagic: Pocket cameras and the Blackmagic Camera app on iPhone.
- LUTs for DJI Osmo Pocket 3 (D-Log M).
- What a .cube file is: 17, 33 and 65 points, technical and creative LUTs.
- Free LUT to Lightroom converter: for when you want the same look on photos.
Try it free
The starter pack needs no card: five looks for photos and two LUTs for video, just an email address. The LUTs in it are 17-point, so the FX3 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.