Shot Apple Log 2 on an iPhone 18 Pro or 17 Pro and the footage looks flat and grey? These eleven LUTs bake the full Apple Log 2 → Rec.709 conversion — the Apple Log curve and the Apple Wide Gamut → Rec.709 matrix, not just the curve — plus a finished cinematic grade into a single .cube. One node or one adjustment layer from flat to graded.
The eleven iPhone looks, decoded for the wider gamut Log 2 records. An Apple Log LUT on Log 2 footage under-corrects — about 3 ΔE on average and 5 ΔE flat in the greens, measured on a 17 Pro clip — and these do not. Blacks go dense rather than lifted, skin stays protected at high saturation, highlights roll off instead of clipping. True iPhone, the neutral conversion, is free. Set Settings › Camera › Formats › ProRes Log Video Encoding to Log 2 for these to decode correctly.
The 11 LUTs plus any album you choose, with its own licence. We suggest Chill, and you can swap it at checkout.
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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 trust-builder — a clean, correct Apple Log 2 conversion with film density and honest skin. Noticeably richer than Apple's own LUT without tipping into a style.
The money look — deep teal shadows, warm protected skin, bold filmic contrast with dense saturated darks. Narrow hue targeting keeps faces natural while the world goes cinematic.
Golden-hour travel and lifestyle — amber highlights, dense warm shadows, sun that blooms instead of clipping. Skin glows without going orange.
Night and neon — dense noise-free blacks, saturated protected signs, cool blue undertone. Built for what iPhones actually shoot after dark.
The muted street look — desaturated but dense, weighty contrast, a gold-and-steel palette. Understated is the hardest look to fake; the density stage is what makes it read as graded, not grey.
The social finisher — contrast and chroma tuned to survive Instagram and TikTok re-encoding, midtones weighted for vertical crops where the subject fills the frame.
The hazy film look — milky lifted blacks, creamy rolled highlights, soft contrast with a faint warm veil. A LUT shifts tone, not pixels: pair with a touch of your editor's glow for true diffusion bloom.
Motion-picture negative emulation — warm mids, real cross-channel color contamination, green-leaning shadows and dense print color. The "shot on film" look for Apple Log 2.
Bleach bypass — heavy desaturation under high contrast with maximum density, the silver-retention thriller look. Skin keeps a trace of warmth against the steel.
The green-leaning cinema grade — green-tinted shadows under sodium-warm highlights, moody and precise, with skin kept clean out of the green. The one hue territory the rest of the pack leaves alone.
Soft pastel daylight — airy low contrast that stays dense instead of washed out, creamy protected skin, muted skies. The lifestyle look, built on the film-density stage.
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 11 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 Apple Log 2 → 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.
iPhone 17 Pro · 18 Pro on Log 2. The grades are authored against Apple Log 2 footage from those cameras, so shoot in Apple Log 2 — not HDR or Dolby Vision — for the decode to land correctly.
Yes — True iPhone 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.
The iPhone 17 Pro and 18 Pro (and Pro Max), set to Log 2 in Settings › Camera › Formats › ProRes Log Video Encoding. A 15 Pro or 16 Pro records Apple Log only and wants the Apple Log pack.
Only if you shoot Log 2. The looks are the same eleven; what differs is the decode in front of them. On a 17 Pro or 18 Pro set to Log, the Apple Log pack is correct. Switch the phone to Log 2 and the Apple Log files under-correct the colour — this pack is the matching decode.
Yes. True iPhone is the Apple Log 2 → Rec.709 conversion, free at full strength with no watermark — pick it in the preview above and download the .cube. It is also on the Apple Log 2 conversion page and the free shelf.
It will load and it will look nearly right, which is the problem. Log 2 records Apple Wide Gamut, wider than the Rec.2020 an Apple Log LUT assumes, so the colour comes out slightly flat and cool — most visibly in greens and blues. Use the decode that matches the setting on the phone.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.