Shot S-Log3 on a ZV-E1 or ZV-E10 II and want it to look finished, not just correct? These eight carry the full S-Log3 and S-Gamut3.Cine decode plus a look in one .cube — one node or one adjustment layer from flat to done, in DaVinci Resolve, Premiere Pro, Final Cut or CapCut.
Full Frame Cinematic is the headline grade. Studio Tone gives log footage the soft, cinematic finish of Sony’s S-Cinetone — shoot log for the range, keep the Sony look. Skin First is built for talking heads across every skin tone. Chrome 64 and Sun Fade are film looks, Graphite and Downpour the dark and rainy end, and Ink is high-contrast black and white. Want a correct image with nothing added? That is the S-Log3 Conversion Kit.
The 8 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 headline cinematic grade for Sony S-Log3 — teal shadows, warm skin, dense filmic contrast and a soft highlight roll that suits full-frame depth of field.
S-Log3 with the soft, cinematic finish of Sony’s S-Cinetone — gentle mid contrast, a long highlight roll, calm greens and blues, and warm, natural skin. Shoot log for the range, keep the Sony look.
For talking heads — skin brightened and evened out across every tone, blotchy reds calmed, background greens and blues pulled back so the face leads. Soft, flattering, never plastic.
High-contrast black and white — a red-filter mix that darkens blue sky and lifts skin, deep blacks and bright, clean highlights. For street, architecture and hard light.
Saturated slide film — deep reds and warm yellows, solid blacks, skies pushed toward cyan. Classic transparency colour for street, food and travel.
Sun-bleached nostalgia — matte blacks, creamy warm highlights, olive greens and pastel skies. The soft summer-memory look for holiday recaps and day-in-the-life reels.
Dark, quiet and heavy — a cool slate palette, dense detailed blacks and colour pulled right back, with skin held so faces never go lifeless. For overcast cities, winter and tense, dramatic scenes.
Cold, wet, cinematic rain — a blue-green cast and teal shadows, colour muted everywhere except red and amber lights, which burn against the wet ground. For rainy streets, umbrellas and reflections, day or dusk.
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 8 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 S-Log3 → 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.
Sony ZV-E1 · ZV-E10 II · FX30 · FX3 · A7 IV. The grades are authored against S-Log3 footage from those cameras, so shoot in S-Log3 — 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.
On the ZV-E10 II, yes — it records 10-bit S-Log3 like the ZV-E1. The original ZV-E10 records S-Log3 in 8-bit only, which bands when it is pushed, and it has no S-Cinetone profile — so on that camera skip log and shoot a standard picture profile instead.
No — S-Cinetone is Sony’s in-camera picture profile, and Studio Tone is our grade for S-Log3 footage in the same spirit: softer mid contrast, a long highlight roll, calm greens and blues, warm natural skin. It lets you record log for the extra range and still land close to that look in the edit. Footage already shot in S-Cinetone does not need a log LUT at all.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.