You bought the camera for the film simulations and lost them the moment you switched to F-Log2. These eight bake the full F-Log2 and F-Gamut conversion — curve and BT.2020 gamut, not just the curve — into a single .cube, and three of them put that character back on top of a decode that is actually correct.
A conversion kit first. F-Log2 holds about a stop more highlight than F-Log, so the shoulders here are gentler than a Canon or Sony kit needs, and middle grey sits lower, so Skin Priority lifts the mids where faces live instead of adding saturation to a dark face. Decoded F-Log2 skin runs ruddy, so the reds are steered toward orange, narrowly. Then the finishes: Chrome pulls saturation back and turns the blues toward teal, Nostalgia puts amber in the highlights and cyan in the shadows, Negative keeps the primaries true with fine contrast. Locked to F-Log2 — an X-T4 records F-Log, and picks that as its footage type in any look pack instead.
The 8 LUTs plus any album you choose, with its own licence. We suggest Chill, 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 — F-Log2 and F-Gamut to Rec.709, correct contrast and colour, nothing else added. What the X-Trans sensor recorded before any simulation. Grade on top 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 correctly exposed footage going straight out.
The one for faces. Decoded F-Log2 skin lands a touch dark and runs ruddy — this lifts the mids where skin lives and steers the reds toward orange, holding the band narrow so the rest of the frame is not pushed with it.
A firm shoulder with desaturated highlights, for windows, skies and practicals that would otherwise clip to a white hole. F-Log2 holds more highlight than F-Log, and this is the grade that shows it.
For the second base gain and beyond. A lifted toe so shadow noise stays grain instead of turning to mud, with shadow chroma pulled back so it reads as texture rather than colour blotches.
The documentary-magazine finish: saturation pulled well back, blues turned toward teal and dimmed, greens muted, reds left standing, a little lift in the shadows. The look people switch away from log to keep — here it is on top of the correct decode.
Amber in the highlights, cyan in the shadows, soft contrast and dense, unhurried colour — the seventies-print finish. Warm without going orange, because the decode underneath is honest.
The faithful colour-negative finish: true primaries, fine contrast, a hint of density, shadows a shade cool. For when the scene had the colour and the job is not to get in its way.
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 F-Log2 → 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.
Fujifilm X-T5 · X-H2S · X-H2 · X-S20 · X-M5 · X100VI · GFX. The grades are authored against F-Log2 footage from those cameras, so shoot in F-Log2 — 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.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.