D-Log is not D-Log M. The Mavic 3/4 Pro, Inspire 3 and Ronin 4D record a different transfer function from the Osmo Pocket, and decoding one as the other is why so much drone footage comes back with crushed blacks or a green cast. These six are built for D-Log itself, with the decode baked into a single .cube.
A conversion kit, not a look pack. Each file solves one thing that actually goes wrong at altitude: Neutral is the accurate decode, Contrast is ready to post, Sky Safe holds cloud and horizon detail instead of clipping to a white hole, Shadow Safe lifts the toe so dusk noise does not turn to mud, Golden Hour puts back the warmth auto white balance takes out, and Recover −1 Stop rescues the shot you flew under. Neutral is free.
The 6 LUTs plus any album you choose, with its own licence. We suggest Flight Mode, and you can swap it at checkout.
Get the bundleOne-time purchase. No subscription.
The pack downloads at the strength you choose. Test it on a frame of your own footage, pick 50, 70 or 100% (or anything between) and every grade is built at that strength — or set one grade at a time in the LUT Library. The look then works at your strength even in camera apps and editors with no LUT-intensity control, and pulling it back never washes out the log conversion the way an editor's mix slider does.
When you download the pack, you pick the strength it's built at.
Every look renders with the same engine as the .cube download. Free looks download instantly — PRO and STUDIO looks unlock with the pack or a plan.
The sample frame is an illustrative still, not footage shot on the camera named above. Load your own frame for a true preview. Image credits
The accurate decode — D-Log to Rec.709 with correct contrast and colour and nothing else added. What the sensor saw. Start here, and grade on top of it if you want a look.
Ready to post — the neutral decode with the contrast and density a finished shot needs, so there is no second node. For footage that is correctly exposed and going straight out.
Highlight priority — a hard shoulder and desaturated highlights so bright cloud and sky hold detail instead of clipping to a white hole. The one to reach for on any shot with the horizon in it.
A lifted toe that keeps low-light noise out of the mud — for dusk, dawn and anything shot near the sensor floor. Shadow chroma pulled back so noise reads as grain rather than colour blotches.
Warm white-balance correction for the hour either side of sunrise and sunset, when auto WB on a drone pulls the warmth straight back out. Amber held in the highlights, blues calmed rather than killed.
For the shot you flew a stop under. Lifts roughly a stop back with a strong shoulder so the recovered highlights roll instead of clipping, and shadow chroma held down so the lift does not surface noise.
When you download the pack you test it on a frame of your own footage and pick one strength for every grade; in the LUT Library each preview has its own slider (0–100%). Whatever you set is rendered into the files themselves — regenerated at that strength, named accordingly (e.g. _70pct.cube), and looks identical in your editor to what you saw in the preview.
Why bake it in instead of using your editor's LUT-mix slider? Two reasons. Many tools have no per-LUT strength control at all — DaVinci Resolve hides it behind node key gain, and camera apps that load monitoring LUTs have none. And on log footage an editor's mix slider blends back toward the flat, grey log image, washing out the picture; our blend keeps the full log-to-Rec.709 conversion and fades only the creative grade on top of it.
Want the full-strength version too? Download again at 100% — each strength gets its own file names, and downloads are unlimited once you own the pack.
All 6 are standard 3D .cube files, so they load in DaVinci Resolve, Premiere Pro, Final Cut Pro, CapCut, Filmora and anything else that reads .cube — including camera apps that take a monitoring LUT.
No. Each grade in this pack bakes the full D-Log → Rec.709 conversion into the same .cube as the look, so it is one node in Resolve or one adjustment layer in Premiere — never a conversion LUT stacked underneath a creative one.
DJI Mavic 3 / 4 Pro · Inspire 3 · Ronin 4D. The grades are authored against D-Log footage from those cameras, so shoot in D-Log — not HDR or Dolby Vision — for the decode to land correctly.
Yes — Neutral is free, and it is the pack's neutral conversion rather than a trimmed-down sample: full strength, same engine, no watermark. The phone, DJI and Insta360 packs each give their conversion away; they are collected at https://ireelz.com/luts/free.
Yes, before you download. Set 50, 70 or 100% in the preview and the .cube is regenerated at that strength, so it holds in CapCut and Filmora, which cannot dial a LUT back. On log footage this also beats an editor's mix slider, which fades toward the flat log image and washes the picture out.
$24 once. It is a one-time purchase, not a subscription, and re-authored versions replace your files in place at no cost. It is also included with a Creator Pro plan.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.