Shot I-Log on the new Luna Ultra and your footage looks grey and washed out? These LUTs bake the I-Log → Rec.709 conversion and a finished creative grade into a single .cube file — one node or one adjustment layer from flat to cinematic.
Tuned to what the Luna is actually good at: a 1-inch main sensor with real low-light reach, clean neutral optics, and 4K/120 slow-motion. Night looks are first-class citizens here, not an afterthought, and First Light — the neutral I-Log conversion — is free. Shoot I-Log in SDR (not HDR/Dolby Vision) for these to decode correctly.
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 clean do-everything Luna conversion — flat I-Log to a neutral filmic image with honest skin tones, gentle contrast and soft highlight rolloff. Start here.
Built for the Luna's 1-inch low-light reach — deep clean shadows, glowing protected neons and cool blue undertones for night city and after-dark footage.
Golden-hour warmth for Luna travel footage — amber highlights, sun-kissed skin and clean warm shadows that hold up long after sunset.
Punchy travel color for Luna clips headed straight to the feed — vivid skies, rich greens, lifted energy without crossing into oversaturated.
Moody desaturated city grade — slate shadows, restrained color and weighty contrast for street, architecture and overcast Luna footage.
Classic reportage rendering — neutral-cool clarity, true-to-life color and crisp micro-contrast that flatters the Luna's clean optics.
The flagship Luna look — teal shadows, warm highlights and filmic contrast. Turns flat I-Log into a polished blockbuster grade in one click.
High-contrast night noir with hard-protected highlights — made for the Luna's 4K/120 and 240fps slow-mo, where light sources streak and bloom.
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 I-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.
Insta360 Luna Ultra · Ace Pro 2 · X5. The grades are authored against I-Log footage from those cameras, so shoot in I-Log — not HDR or Dolby Vision — for the decode to land correctly.
Yes — First Light 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.
On this page. First Light is the I-Log → Rec.709 conversion for the Luna Ultra, and it is free at full strength with no watermark — pick it in the preview above and download the .cube. The free shelf at /luts/free has First Light for the Ace Pro 2 and X5 too, each with that camera’s own decode.
Both, in one file each. First Light is the pure conversion: I-Log decoded to a correct Rec.709 image and nothing else. Every other grade in the pack carries that same conversion inside it plus a finished look, so there is never a technical LUT to stack underneath.
Yes, each with its own decode. Insta360 records a different I-Log on each camera — 10-bit on the Luna series, 8-bit curves of their own on the Ace Pro 2 and X5 — so the zip has a folder per camera, Luna, Ace Pro 2 and X5, with every grade decoded for that camera. Use the folder for the camera you shot on. The looks are tuned to the Luna’s 1-inch sensor but apply cleanly to all three. The X6 has a pack of its own, tuned for 360 reframing.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.