GP-Log is the first GoPro format worth grading, and out of the camera it looks like grey soup. These eight bake the full GP-Log conversion — curve and colour, not just the curve — into a single .cube, tuned for where a GoPro actually goes: sky, water, dirt and snow.
A conversion kit first. The sensor is small, so Low Light keeps shadow noise as grain rather than mud; the lens is wide and the scene is usually bright, so Highlight Safe has the firm shoulder most clips want; skin shot at arm’s length into the sun decodes ruddy, so Skin Priority pulls the reds back and lifts the mids. Then the finishes: Open Water puts the red back that the sea took and turns cyan toward true blue, Trailhead settles the greens to olive under golden light, Snowline keeps whites clean and faces bright against the glare. Locked to GP-Log, 10-bit only.
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 accurate decode — GP-Log to Rec.709 through GoPro’s own technical conversion, correct contrast and colour, nothing else added. What the HERO sensor recorded before GoPro’s own colour got to it. Grade on top if you want a look.
Ready to post — the neutral decode with the contrast and density a finished clip needs, so there is no second node. For correctly exposed daylight footage going straight to the feed.
The one for faces at arm’s length. GoPro skin decodes ruddy and a touch oversaturated under a wide lens in full sun — this pulls the reds back toward orange, lifts the mids where a face sits, and leaves the scenery alone.
The grade most GoPro clips want. A firm shoulder with desaturated highlights for sky, snow glare and sun on water — the frame that would clip to a white hole holds its cloud and its texture instead.
For dusk, indoors and anything past ISO 400, where a small sensor starts to show its grain. A lifted toe so shadow noise stays texture instead of turning to mud, with shadow chroma pulled back so it reads as grain rather than colour blotches.
Surf, snorkel, boat. Water absorbs red first, so underwater and sea-level footage decodes cyan-green and flat — this puts the red back, turns the cyans toward true blue and deepens them, and keeps the whites of the spray clean.
Dirt, forest and golden light — the hike, the ride, the campsite. Greens turned toward olive so foliage stops looking electric, warmth in the highlights, density in the mids, and the sky left blue rather than teal.
Ski, board and anything above the treeline: bright, cold and high-key. Whites held clean and just off clipping, mids lifted so faces do not go dark against the snow, blues kept crisp, and a shoulder that saves the glare.
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 GP-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.
GoPro HERO12 · HERO13 · MAX 2. The grades are authored against GP-Log footage from those cameras, so shoot in GP-Log — 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.