Apple Log 2 is what the iPhone 17 Pro and 18 Pro record when ProRes Log encoding is set to Log 2. It keeps the Apple Log curve and changes the container: Apple Wide Gamut instead of Rec.2020, with room past it in the blues and reds. Same greys, different colour — so it needs its own conversion.
Phone set to Log, or a 15 Pro or 16 Pro? Apple Log to Rec.709 LUT →
iPhone 17 Pro, 18 Pro set to Log 2 — Apple Wide Gamut
The curve is unchanged, so anything that decodes Apple Log tone correctly decodes Log 2 tone correctly. The gamut is not: Apple Wide Gamut sits outside Rec.2020 in the blue and red corners, and a conversion that assumes Rec.2020 under-corrects. On a 17 Pro Log 2 clip we measured the Apple Log decode about 3 ΔE off on average and 5 ΔE flat in the foliage greens. This conversion applies the Apple Wide Gamut → Rec.709 matrix derived from the primaries in Apple’s Log 2 white paper.
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.
Using an Apple Log LUT on Log 2 footage, or the reverse. They share a name and a curve, and no editor tells you which one a clip is — check Settings › Camera › Formats › ProRes Log Video Encoding on the phone, and export for that.
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.
iPhone Apple Log 2 → True iPhone is free.
Because it has not been decoded yet. Apple Log 2 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 2 as your footage type before you download and the Apple Log 2 → 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 17 Pro, 18 Pro set to Log 2 — Apple Wide Gamut. If your camera records Apple Log 2, 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.
The iPhone 17 Pro and 18 Pro (and Pro Max), on iOS 26 or later. Both can record Apple Log or Apple Log 2 — it is a setting, not a fixed property of the phone. The 15 Pro and 16 Pro record Apple Log only.
Yes. The two share a transfer curve but not a gamut, and a LUT carries both. The iPhone Apple Log 2 pack has the same eleven looks as the Apple Log pack with the Log 2 decode in front of them, and its free True iPhone conversion is here; the Apple Log pack and page carry the Log one.
On the phone: Settings › Camera › Formats › ProRes Log Video Encoding. In the file: MediaInfo or ffprobe shows colour primaries of BT.2020 for Apple Log and “unspecified” for Log 2, because Apple Wide Gamut has no standard code. Final Cut Pro reads the tag and names the profile in the inspector.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.