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All built-in preset LUTs - Firmware v2016.10

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Alexa style Low Contrast Rec.709, converted from the Sony original to Extended range in and out, to match the in-camera MLUT SLog2-SGamut_To_LC-709TypeA.cube

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S-Log2/S-Gamut to Alexa-style Low Contrast Rec.709, printed down one stop
SLog2-SGamut_To_LC-709TypeA_pull_1.cube

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S-Log2/S-Gamut to Alexa-style Low Contrast Rec.709, printed down two stops
SLog2-SGamut_To_LC-709TypeA_pull_2.cube

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S-Log2 to Rec.709(800%) with no colour space change, matching the in-camera MLUT
S-Log2 to Rec709_800.cube

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Alexa-style Low Contrast Rec.709, converted from the Sony original to Extended range in and out, to match the in-camera MLUT
SLog3SGamut3.CineToLC-709TypeA.cube

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S-Log3/S-Gamut3.Cine to Alexa-style Low Contrast Rec.709, printed down one stop
SLog3-SGamut3.Cine_To_LC-709TypeA_pull_1.cube

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Sony S-Log3/S-Gamut3.Cine to Alexa-style Low Contrast Rec.709, printed down two stops
SLog3-SGamut3.Cine_To_LC-709TypeA_pull_2.cube"

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Sony S-Log1 to Rec.709(800%) with no colour space change, matching the in-camera MLUT
S-Log1 to Rec709_800.cube

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CanonLog/Rec.709 to Wide Dynamic Range Rec.709
BT709_CanonLog-to-BT709_WideDR_17_Ver1.0.cube

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CanonLog 2/Rec.709 to Wide Dynamic Range Rec.709
BT.709_CanonLog2-to-BT.709_WideDR_33_Ver1.0.cube

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CanonLog/CinemaGamut to Wide Dynamic Range Rec.709
CinemaGamut_CanonLog-to-BT709_WideDR_17_Ver1.0.cube

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CanonLog 2/CinemaGamut to Wide Dynamic Range Rec.709
CinemaGamut_CanonLog2-to-BT.709_WideDR_33_Ver1.0.cube

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Version 2 Blackmagic Production Camera 4K LUT from Resolve
Blackmagic Production Camera 4K Film to Rec709 v2.cube

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Version 2 Blackmagic Cinema Camera LUT from Resolve
Blackmagic Cinema Camera Film to Rec709 v2.cube

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Standard ARRI Alexa LogC to Video LUT – camera default
AlexaV3_EI0800_LogC2Video_Rec709_EE_davinci3d.cube

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REDlogFilm to REDgamma3 with colour space as input, e.g. REDcolor3
REDlogFilm to REDgamma3.cube

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PANASONIC_EE_LOG_709, provided for convenience
VLOG-VGAMUT to Rec709.cube

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CanonLog 3/Rec.709 to Wide Dynamic Range Rec.709
Use this LUT when shooting with CanonLog3 gamma and Rec.709 colour space to create an image which matches the Rec.709 Wide Dynamic Range output of the camera.

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Canon_EE_Cin_CL3_WDR.cube
CanonLog 3/CinemaGamut to Wide Dynamic Range Rec.709
Use this LUT when shooting with CanonLog3 gamma and CinemaGamut colour space to create an image which matches the Rec.709 Wide Dynamic Range output of the camera.

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FS5 RAW to ProRes at 3200K to LC709A, for firmware 2016.06
Use this LUT with FS5 RAW to ProRes material shot at, or near, 3200K, in place of the preset SONY_EE_Slog2_LC709A.cube LUT. This is a modified version of that LUT, which incorporates a matrix correction to give a good match to the result of applying the preset LUT to the camera's S-Log2 output.
Under future firmware the matrix will be incorporated into the RAW to ProRes recordings, so the modified LUT will not be needed.

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FS5 RAW to ProRes at 3200K to LC709A, with one stop compensation, for firmware 2016.06
Use this LUT with FS5 RAW to ProRes material shot at, or near, 3200K with one stop overexposure, in place of the preset SONY_EE_SL2_L709A-1.cube LUT. This is a modified version of that LUT, which incorporates a matrix correction to give a good match to the result of applying the preset LUT to the camera's S-Log2 output.
Under future firmware the matrix will be incorporated into the RAW to ProRes recordings, so the modified LUT will not be needed.

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FS5 RAW to ProRes at 3200K to LC709A, with two stop compensation, for firmware 2016.06
Use this LUT with FS5 RAW to ProRes material shot at, or near, 3200K with two stop overexposure, in place of the preset SONY_EE_SL2_L709A-2.cube LUT. This is a modified version of that LUT, which incorporates a matrix correction to give a good match to the result of applying the preset LUT to the camera's S-Log2 output.
Under future firmware the matrix will be incorporated into the RAW to ProRes recordings, so the modified LUT will not be needed.

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FS5 RAW to ProRes at 3200K to LC709A, for firmware 2016.06
Use this LUT with FS5 RAW to ProRes material shot at, or near, 5500K, in place of the preset SONY_EE_Slog2_LC709A.cube LUT. This is a modified version of that LUT, which incorporates a matrix correction to give a good match to the result of applying the preset LUT to the camera's S-Log2 output.
Under future firmware the matrix will be incorporated into the RAW to ProRes recordings, so the modified LUT will not be needed.

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FS5 RAW to ProRes at 5500K to LC709A, with one stop compensation, for firmware 2016.06
Use this LUT with FS5 RAW to ProRes material shot at, or near, 5500K with one stop overexposure, in place of the preset SONY_EE_SL2_L709A-1.cube LUT. This is a modified version of that LUT, which incorporates a matrix correction to give a good match to the result of applying the preset LUT to the camera's S-Log2 output.
Under future firmware the matrix will be incorporated into the RAW to ProRes recordings, so the modified LUT will not be needed.

Download

FS5 RAW to ProRes at 5500K to LC709A, with two stop compensation, for firmware 2016.06
Use this LUT with FS5 RAW to ProRes material shot at, or near, 5500K with two stop overexposure, in place of the preset SONY_EE_SL2_L709A-2.cube LUT. This is a modified version of that LUT, which incorporates a matrix correction to give a good match to the result of applying the preset LUT to the camera's S-Log2 output.
Under future firmware the matrix will be incorporated into the RAW to ProRes recordings, so the modified LUT will not be needed.