The Osmo Pocket 4P records D-Log 2 — a new DJI curve with a new gamut, D-Gamut 2 — and it is not D-Log M. A D-Log M LUT on D-Log 2 footage decodes it with the wrong curve and the wrong gamut, so exposure and colour both come out wrong. These eight carry the D-Log 2 decode in every file, so one node takes the 4P from flat to finished.
D-Log 2 keeps over eleven stops above mid-grey, far more than the Pocket 4, so every look rolls its highlights instead of adding contrast at the top — skies and window light keep their detail. 4P Cinematic is the headline grade; True Tone is the natural everyday one; Chrome 64 and Tungsten 800 are film looks for day and night; Tele Portrait is tuned for skin on the 3× camera; Sun Fade is the soft nostalgic finish; Graphite and Downpour are the cool end — a dark, stripped-back mood and a cinematic rain look.
The 8 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 flagship Pocket 4P look — teal shadows, warm skin, dense filmic contrast and a long highlight roll. Flat D-Log 2 to a finished blockbuster grade in one node.
Natural, polished D-Log 2 — accurate colour with a touch of contrast and vibrance, skin kept true. The everyday grade for vlogs, and a clean base to build on.
Saturated slide film — deep reds and warm yellows, solid blacks, skies pushed toward cyan. Classic transparency colour for street, food and travel.
Built for the 3× camera — soft contrast, skin brightened and evened out, background greens and blues calmed so the subject leads. Flattering without the plastic.
Night film — cool cyan shadows, amber streetlight, warm red-leaning highlights and quiet shadow colour so low-light noise reads as grain. For night streets, rain and bars.
Sun-bleached nostalgia — matte blacks, creamy warm highlights, olive greens and pastel skies. The soft summer-memory look for holiday recaps and day-in-the-life reels.
Dark, quiet and heavy — a cool slate palette, dense detailed blacks and colour pulled right back, with skin held so faces never go lifeless. For overcast cities, winter and tense, dramatic scenes.
Cold, wet, cinematic rain — a blue-green cast and teal shadows, colour muted everywhere except red and amber lights, which burn against the wet ground. For rainy streets, umbrellas and reflections, day or dusk.
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 8 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 2 → 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 Osmo Pocket 4P · main and 3× cameras. The grades are authored against D-Log 2 footage from those cameras, so shoot in D-Log 2 — not HDR or Dolby Vision — for the decode to land correctly.
Not in this pack — the free grades are the camera conversions, one per camera pack, collected at https://ireelz.com/luts/free. Everything here is a creative look, which is the part the packs sell.
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.
Only if the 4P is set to D-Log M. In D-Log 2 the curve and the gamut are both different: mid-grey sits at a different code value and the colour is recorded in the much wider D-Gamut 2, so a D-Log M LUT gets exposure and colour wrong at the same time. Use the pack that matches the setting on the camera.
Yes. Both cameras on the Pocket 4P record the same D-Log 2 profile, so the same files apply. Tele Portrait is tuned for the 3× camera — softer contrast and brighter, even skin — but every look works on either lens.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.