Resolve is the most capable grading tool on this list and the fussiest about where LUTs live — new files simply do not appear until you refresh the list. Here is the whole process, plus the one thing Resolve cannot do that the others can.
Every iReelz LUT is a standard 3D .cube, so nothing here is specific to our files. The camera packs bake the log-to-Rec.709 conversion into the same file as the look, which means one node rather than a conversion LUT with a creative LUT stacked on top of it.
In Resolve, open Project Settings (the gear icon, bottom right) and go to Color Management. Click Open LUT Folder.
Copy your downloaded .cube files into that folder. Subfolders are fine and are often tidier — Resolve shows each one as its own group in the LUT browser.
Back in Color Management, click Update Lists. Resolve will not see a new LUT until you do this. If it still does not appear, quit and relaunch Resolve so it rescans the folder.
Go to the Color page, right-click a clip thumbnail or a node and choose LUTs, then pick your grade. You can also open the LUTs browser at the top left and drag one straight onto a node.
If you use Resolve Color Management or a colour space transform, put the LUT after it in the node tree — our camera LUTs expect the original log signal, not one Resolve has already converted.
Resolve is the one editor here with no straightforward per-LUT strength control — the usual workaround is to put the LUT on its own node and pull that node’s key output gain down, which is fiddly and easy to forget. This is exactly why our .cube files are regenerated at the strength you pick before you download: 70% in the preview is 70% in the file, no node trickery.
Set 50, 70 or 100% in the LUT Library preview and the .cube is regenerated at that strength — the file itself is the lighter grade, so it lands identically wherever you load it.
Apple Log · iPhone 15 Pro · 16 Pro · 17 / 18 Pro on Log
Apple Log 2 · iPhone 17 Pro · 18 Pro on Log 2
D-Log M · DJI Mini 4 Pro · Air 3 · Avata 2 · Osmo Pocket 3 / 4 · Osmo Action
D-Log · DJI Mavic 3 / 4 Pro · Inspire 3 · Ronin 4D
D-Log 2 · DJI Osmo Pocket 4P · main and 3× cameras
S-Log3 · Sony A7 IV · A7S III · FX3 · FX30 · ZV-E1
S-Log3 · Sony ZV-E1 · ZV-E10 II · FX30 · FX3 · A7 IV
C-Log3 · Canon R5 II · R6 II · R8 · R50 V · C70 · C80
F-Log2 · Fujifilm X-T5 · X-H2S · X-H2 · X-S20 · X-M5 · X100VI · GFX
GP-Log · GoPro HERO12 · HERO13 · MAX 2
Samsung Log · Galaxy S24 · S25 · S26 series · Z Fold · Z Flip
I-Log · Insta360 X6
I-Log · Insta360 Luna Ultra · Ace Pro 2 · X5
Standard · iPhone & Android · stock camera app
Standard 3D .cube files. Every one of the 175 grades in the iReelz library exports as .cube, so they load in DaVinci Resolve without conversion.
Not with the camera packs. Each of those bakes the full log-to-Rec.709 conversion into the same .cube as the look, so it is one effect in DaVinci Resolve rather than a technical LUT with a creative LUT stacked on top.
Resolve is the one editor here with no straightforward per-LUT strength control — the usual workaround is to put the LUT on its own node and pull that node’s key output gain down, which is fiddly and easy to forget. This is exactly why our .cube files are regenerated at the strength you pick before you download: 70% in the preview is 70% in the file, no node trickery.
Yes — 7 of them, one conversion grade for every camera we support, at https://ireelz.com/luts/free. Full-strength .cube files, no watermark.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.