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Show us something from your liking... In the meantime, here are a few for free: https://www.premiumbeat.com/blog/free-luts-log-footage/ https://www.rocketstock.com/free-after-effects-templates/35-free-luts-for-color-grading-videos/

First online social media advert for J'adore Models Manchester, shot on the Sony A7SII in SLog3. Used the excellent Zeiss loxia primes, 50mm f2 and 35mm f2. Recorded full-frame 4K at 24fps, shutter lower than I would prefer due to room lighting restrictions but decided to roll with it instead of using LEDs to keep a cinematic look, pools of light and dark shadows etc. Looking to shoot more of these throughout the year and would love to know what peoples thoughts were... We are a boutique agency in Manchester. Our guys and girls have the freshest and coolest faces on the scene. We believe totally in presenting the next wave of unique, diverse and beautiful models to the industry and we’re about exceeding clients’ expectations, every time. jadoremodels.co.uk Filmed on the Sony A7SII Rig: Movcam A7SII cage Lenses: Zeiss Loxia 50mm f2 / Loxia 35mm f2 4K / 1920 x 1080 HD / 2.35 / 24fps Music: ASTR - Operate (Et Aliae remix)

Latest work shot on the Sony A7SII with Zeiss Loxia prime lenses. Online commercial for a british watch brand. The film will be used for website/blog use and also taking 15 second social media cuts for further advertising. Also used the excellent 3DR Solo drone for the opening wide and SLog3 profile for further flex in the grade. Hope you enjoy! We are inspired by traditional British styling & tailoring and modern ink culture to create a unique blend of convention and edge. This makes our collection truly distinctive. Our products are all beautifully presented and strikingly original.Our obsessive attention to detail and passion for what we do has created…Ma-Ga London. 'It’s a real accomplishment to be yourself in a world that keeps trying to make you something else’ Filmed on the Sony A7SII Rig: Movcam A7SII cage Lenses: Zeiss Loxia 50mm f2 / Loxia 35mm f2 4K / 1920 x 1080 HD / 2.35 / 24fps Music: SLK - Ride (Prod - Embody)

Two journeys, a plane into Macau, and the ferry to Kowloon, as the storm clouds come in. Panasonic G6, 20mm 1.7, neat video NR, ImpulZ LUTs Unfortunately the noise reduction means that banding is evident in the vimeo stream. It's a bit better if you download it. It got a nice review on Coconuts Hong Kong, which has never happened to me before. If you'll forgive me quoting my own good press! http://hongkong.coconuts.co/2014/08/08/video-fall-love-hong-kongs-typhoon-season-romanticised-wet-weather-treat

Hi, Experimenting with the D5300 before I take it on a little trip to Mexico. Trying to get something close to a decent look before I leave, and with minimal gear. Have decided that the 18-200mm VR lens, while not perfect, is close enough to my manual glass to sacrifice some shallow DOF for the benefits of the VR stabilization. The trade-offs are worth having a wide range, macro, AF for stills, VR for handheld, etc. So, now I'm trying to get the in camera settings where I want them to be for grading in FCP X. I've been playing with the LUT Utility with test footage I shot using the Flaat 10 profile, and a modified Standard profile. I didn't think I really needed the LUT Utility or any LUTs to start with... however, I just graded the same footage the best I could by eye and several different shots. Then used the Fuji 3513 to Rec709 at about 50% and miner tweaks to the exposure, etc. Added a little bit of grain and sharpened. Consistently, despite my best efforts, the footage using the LUTs comes out better and closer to natural film stock. I can get close starting with the Teal + Orange Look built-in to FCP X, but it's always better using the LUT. I'm sure a good colorist wouldn't need the LUTs but it's just so much quicker to get it right if you're a relative noob like me. ;) Anyway, what I've figured out is that I get better results with a tweaked Standard file than I do the Flaat 10 one. I don't think the LUTS that come with LUT Utility are the best for the Nikon, but they're not bad. I've seen really nice stuff from Brandon Li using Osiris, but it's mostly been from cameras like the Sony RX10, 5D3 & BMPCC which I think that LUT is particularly tuned to. Can anyone using Nikon here, recommend some LUTs that you find most appealing? Not going for Film Convert at the moment. Sticking with LUTS and tweaking my own profile.