Apple Log holds far more highlight and shadow range than the iPhone’s normal picture, and it looks washed-out and grey until something decodes it. That decode is a transfer curve and a gamut change, and it is the same job on every clip — which is why we give it away.
Shot on a 17 Pro or 18 Pro set to Log 2? Apple Log 2 to Rec.709 LUT →
iPhone 15 Pro, 16 Pro — and 17 / 18 Pro set to Log
A correct Apple Log conversion is two operations, not one. The transfer curve maps the log signal back to linear light, and then the Rec.2020 primaries Apple records into have to be converted to Rec.709 — skip the second and reds and greens stay oversaturated in a way no amount of saturation pulling fixes. Our decode does both.
Both halves live inside the .cube you download, so the conversion cannot be forgotten, applied twice, or stacked in the wrong order — the three ways log grades usually go wrong.
The common mistake is treating Apple Log like a filter and lifting the shadows to “bring detail back”. iPhone shadows are where the noise lives; a good conversion takes blacks down to a proper density instead.
Eleven cinematic LUTs for iPhone footage shot in Apple Log — the 15 Pro, the 16 Pro, and a 17 or 18 Pro set to Log. Each .cube carries the full decode (transfer curve and Rec.2020 gamut, not just the curve) and a finished grade on top, so one node or one adjustment layer takes a clip from flat to graded.
iPhone Apple Log → True iPhone is free.
Because it has not been decoded yet. Apple Log stores far more dynamic range than a normal picture profile by recording a flat, low-contrast signal — that is the point of it. A conversion to Rec.709 maps it back to an image meant to be looked at.
Not here. Pick Apple Log as your footage type before you download and the Apple Log → Rec.709 conversion is baked into the same .cube as the look, so it is one node in Resolve or one adjustment layer in Premiere.
iPhone 15 Pro, 16 Pro — and 17 / 18 Pro set to Log. If your camera records Apple Log, these conversions apply to it.
Yes — True iPhone is free and is exactly this conversion, at full strength with no watermark. The phone, DJI and Insta360 packs each give their conversion away; they are collected at https://ireelz.com/luts/free.
Only if the phone was set to Log. Those two record either Apple Log or Apple Log 2 (Settings › Camera › Formats › ProRes Log Video Encoding). Log 2 keeps this curve but records a wider gamut, so it needs the Apple Log 2 conversion instead — free on its own page, and the same eleven looks are in the Apple Log 2 pack.
Apple publishes a reference conversion .cube alongside its Apple Log white paper, and it is correct. Ours does the same two steps — the transfer curve and the Rec.2020 → Rec.709 gamut — at 65-point resolution, then the free True iPhone grade takes blacks down to a proper density and protects skin, which is where iPhone footage goes wrong after a bare conversion.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.