Shot I-Log on the X6 and it looks grey and lifeless? These seven LUTs bake the I-Log → Rec.709 conversion and a finished grade into a single .cube file, so one node or one adjustment layer takes you from flat to graded.
Tuned for what a 360 camera actually does. The sky is in every frame, so highlight rolloff is the first job in every look; footage gets reframed and cropped in post, so shadows stay clean rather than lifted into noise. True North, the neutral conversion, is free. Shoot I-Log in SDR — not HDR or Dolby Vision — for these to decode correctly.
The 7 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 neutral X6 conversion — flat I-Log to an honest Rec.709 image with the hardest highlight rolloff in the pack, so a full-sphere sky keeps its detail. Correct first, style later. Start here.
POV and mounted action — punchy contrast and clean saturation that hold up through motion blur and heavy reframing. Built so a helmet or chest-mount clip reads instantly at speed.
Snow and alpine. Neutralises the blue cast that 360 optics pick up in snow shadow and rolls the highlights hard so a sunlit slope keeps texture instead of going to paper white.
Surf, dive and boat footage. Separates sea from sky so water reads blue-green instead of collapsing into one teal mass, and warms skin back up against all that blue.
Golden-hour travel. Amber highlights and warm, open shadows for the hour either side of sunset — tuned so the sun sitting inside the sphere blooms instead of clipping to a white hole.
Night and low light, built for the X6’s bigger sensors. Deep clean shadows and protected neon, with the shadow lift deliberately restrained — a 360 reframe crops in, and lifted noise is the fastest way to make 8K look like 1080p.
The social finish. Contrast and saturation pushed to survive Instagram and TikTok re-encoding, with the midtones weighted for a vertical reframe where the subject fills the frame.
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 7 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 X6. 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 — True North 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.
$19.99 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.
Yes. True North is the I-Log → Rec.709 conversion for the X6, free at full strength with no watermark — pick it in the preview above and download the .cube. Shoot I-Log in SDR, not HDR, for it to decode correctly.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.