Six LUTs for the Galaxy S24, S25 and S26 series, and the Z Fold and Z Flip, shot in Samsung Log. Pro Video’s log mode is the Galaxy’s first gradeable format, and out of the camera it is grey and a little green. These bake the full Samsung Log and BT.2020 conversion — curve and gamut, not just the curve — into a single .cube, tuned for a phone: early-clipping highlights, a small sensor, and skin that goes pink under a lazy conversion.
A conversion kit first. Highlight Safe carries the firmest shoulder in any kit because a phone clips early; Low Light keeps shadow noise as grain and adds nothing to what the phone already sharpened; Skin Priority steers the reds toward orange and calms the magentas behind them. Then one finish, Street: saturation pulled back, cool shadows against warm practicals, the documentary look for the city the phone lives in. Locked to Samsung Log, 10-bit Pro Video only.
The 6 LUTs plus any album you choose, with its own licence. We suggest Chill, 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 accurate decode — Samsung Log and BT.2020 to Rec.709, correct contrast and colour, nothing else added. What the Galaxy sensor recorded before the phone’s own processing. Grade on top if you want a look.
Ready to post — the neutral decode with the contrast and density a finished clip needs, so there is no second node. For correctly exposed daylight footage going straight to the feed.
The one for faces. Galaxy skin decodes pink under a curve-only conversion — this steers the reds toward orange, calms the magentas behind them, and lifts the mids where a face sits, holding the band narrow so the rest of the frame is not pushed with it.
The firmest shoulder in any kit, because a phone clips early: windows, skies and sun on water hold their texture instead of turning to a white hole. Highlights desaturated so what is saved does not go yellow.
For dusk, indoors and the night the phone gets pointed at. A lifted toe so shadow noise stays grain instead of mud, shadow chroma pulled back so it reads as texture rather than colour blotches, and nothing that sharpens what the phone already sharpened.
The city finish: saturation pulled back, cool shadows against warm practicals, greens muted, reds left standing, a little density in the mids. Documentary rather than filtered — the look for the walk home, on top of the correct decode.
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 6 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 Samsung 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.
Galaxy S24 · S25 · S26 series · Z Fold · Z Flip. The grades are authored against Samsung Log footage from those cameras, so shoot in Samsung Log — not HDR or Dolby Vision — for the decode to land correctly.
Not in this pack — the free grades are the camera conversions, one per camera pack, collected at https://ireelz.com/luts/free. Everything here is a creative look, which is the part the packs sell.
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.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.