S-Log3 is the flattest thing your camera can record, and it is meant to be. These six bake the full S-Log3 and S-Gamut3.Cine conversion — transfer curve and gamut, not just the curve — into a single .cube, so one node takes you to a correct image instead of a stack of technical LUTs. The conversion is a neutral one, built from Sony’s published S-Log3 formula, with a finish on top. It is not a copy of Sony’s SL3SG3Ctos709.cube, which renders Sony’s own s709 look — use one or the other, not both.
A conversion kit, not a look pack. Two of the six exist because of habits particular to this camera: S-Log3 is shot deliberately one to two stops over, since its shadows are noisy at base, so Pull Back +2 finishes that workflow rather than fighting it — and skin, the complaint that follows S-Log3 everywhere, gets a conversion of its own that holds the orange band narrow instead of pushing the whole frame at once.
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 — S-Log3 and S-Gamut3.Cine to Rec.709 with correct contrast and colour and nothing else added. What the sensor saw. Grade on top of it if you want a look.
Ready to post — the neutral decode with the contrast and density a finished shot needs, so there is no second node. For correctly exposed footage going straight out.
The one for faces. S-Log3 skin drifts magenta and goes waxy when the whole frame is pushed at once — this holds the orange band narrow and warm and lets the rest of the picture fall where it may.
A hard shoulder with desaturated highlights, for windows, skies and practicals that would otherwise clip to a white hole. The interior-and-window grade.
For the high base ISO. A lifted toe so shadow noise stays grain instead of turning to mud, with shadow chroma pulled back so it reads as texture rather than colour blotches.
Finishes the way S-Log3 is meant to be shot. Everyone exposes it one to two stops over to keep the shadows clean — this brings that back down with a strong shoulder, so the recovered highlights roll instead of flattening.
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 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 A7 IV · A7S III · FX3 · FX30 · ZV-E1. 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.
No. SL3SG3Ctos709.cube is Sony’s own S-Log3 / S-Gamut3.Cine → Rec.709 LUT, and it renders Sony’s s709 look: mid-grey a little brighter, highlights rolled off earlier and a slight warm cast. Ours is a neutral conversion from Sony’s published S-Log3 formula — invert the S-Log3 curve, then convert S-Gamut3.Cine to Rec.709 — at 65-point resolution, and the six grades here are that conversion plus a specific finish: neutral, contrast, skin priority, highlight safe, low light, and a pull-back for footage shot two stops over.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.