Nikon has officially announced the integration of four popular creative LUTs from Red’s ecosystem into their mirrorless and DSLR camera lineup. This move allows users to convert Nikon N-Log footage into stylized Rec.709 color using Red’s Film Bias, Film Bias Bleach Bypass, Film Bias Offset, and Achromic LUTs, bridging the gap between these two major brands.
These four LUTs from the cinema giant, Red Digital Cinema can be downloaded for free from the Nikon website.
Sample images using Red LUTs for N-log: (clockwise from top left Film Bias Bleach Bypass, Achromic, Film Bias, and Film Bias Offset) (Image credit: Nikon)
Nikon’s video capabilities have been improving steadily in recent years, and the inclusion of the N-Log color space has become a standard feature across many of their popular models.
These new LUTs will be compatible with the latest Nikon mirrorless cameras, including the Nikon Z9, Nikon Z8, Z7 II, Z6 III, and the Nikon Zf, as well as select DSLR models like the D780. This collaboration is designed to enhance Nikon’s video offerings, especially for filmmakers looking for high-end cinematic color grading tools.
The four LUTs were developed in collaboration with acclaimed colorist Eric Weidt, known for his work on films like Mindhunter and Gone Girl. Each LUT offers a unique visual style to expand creative possibilities for filmmakers. The Film Bias LUT provides a warm, vintage look with golden hues, evoking the feel of classic 35mm film.
The Film Bias Bleach Bypass delivers a high-contrast, desaturated style, reminiscent of films like Saving Private Ryan. The Film Bias Offset LUT shifts exposure for a more dramatic effect, while the Achromic LUT creates a smooth black-and-white aesthetic perfect for historical or throwback projects.
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Display of the four Red LUTs for Nikon cameras (Image credit: Nikon)
Although the LUTs won’t be stored directly on Nikon cameras, users can load them onto external monitors such as the Atomos Shinobi II or Ninja during production. Additionally, they’ll be compatible with editing programs like DaVinci Resolve and Adobe Premiere Pro in post-production. Filmmakers familiar with LUT workflows can easily download these from Nikon’s website and integrate them into their projects.
This marks a significant step for Nikon as it ventures deeper into the professional video market, embracing RED’s expertise and tools. These LUTs have been popular in the film industry for years, and their availability on Nikon cameras signals a promising collaboration between the two brands moving forward.
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For nearly two decades Sebastian's work has been published internationally. Originally specializing in Equestrianism, his visuals have been used by the leading names in the equestrian industry such as The Fédération Equestre Internationale (FEI), The Jockey Club, Horse & Hound, and many more for various advertising campaigns, books, and pre/post-event highlights.
He is a Fellow of The Royal Society of Arts, holds a Foundation Degree in Equitation Science, and is a Master of Arts in Publishing. He is a member of Nikon NPS and has been a Nikon user since the film days using a Nikon F5 and saw the digital transition with Nikon's D series cameras and is still to this day the youngest member to be elected into BEWA, The British Equestrian Writers' Association.
He is familiar with and shows great interest in street, medium, and large format photography with products by Leica, Phase One, Hasselblad, Alpa, and Sinar. Sebastian has also used many cinema cameras from the likes of Sony, RED, ARRI, and everything in between. He now spends his spare time using his trusted Leica M-E or Leica M2 shooting Street photography or general life as he sees it, usually in Black and White.
