Adobe LUT for s log

LUTs are called by professional colorists "The dumbest math there is." So ... always be careful when applying log-corrective LUTs, as they can clip highlights and crush blacks unless the exposure of the clip is adjusted prior to the LUT to keep that from happening. Which is why I always apply LUTs in the Creative tab and not the Basic tab of Lumetri, so I can use the Basic tab to adjust the image prior to the LUT.

For pre-built LUTs, Ann is right, check with your camera manufacturer as every camera does a slightly different thing with any "set" log style.

You can easily create your own. Use the Color workspace in Premiere, the Lumetri panel. Use the Color wheels tab Luma sliders to drop the shadows to near black, then the white point to near white. Don't take either past 0 (blacks) or 100 (whites) on the left-side scale of the Waveform or Parade scopes. And yes, do this to the scopes not your eyes!

Then use the middle tones wheel Luma control to set the basic "brightness" of the image. Use the Creative tab Saturation to set over-all saturation, then Vibrance control to bring up the lower-saturated tones a bit to taste.

The above should take less than a minute. Save this as a preset, and apply it across maybe ten clips. If you need to set the "black" point or "white" point or saturations a bit differently do so. Once you get it dialed in so that it basically works on most clips, then click the 3-bar menu by the Lumetri name at the top of the panel. Use the Export as .Cube option, name it so you know what it is.

Then park it, like any other LUT you acquire or create, in the following locations ... note, you'll need to create the 'final' Technical and Creative tab folders.

Neil

This is complicated.

Don't forget, anybody in the world can make a LUT and distribute it.

That LUT works for that particular situation ( color calibrated monitors ) SOMETIMES. Other times you have to do color correction ( basic levels and WB ) yourself for each clip that needs to BYPASS the Lut of the color WORKSPACE.

In other words, you try to make things faster by appying a color workspace to the source material, and then deal with what you got on the timeline ( between edit and color corrections ). Don't know if that makes sense.

It's more complicated than simply trying to speed up the process of having perfect program monitor ( your timeline monitor in edit program ) 

Look for the luts with the manufacturer of your camera.