Apple Log LUT Pack — 5 iPhone ProRes Log Conversion LUTs

Shooting Apple Log on an iPhone gets you far more range than the standard profile, and an image that looks washed out and grey until something converts it. These are conversion LUTs: each one decodes Apple Log to Rec.709 and applies a look in the same file, so one drag onto the clip gets you from flat to finished.

Five looks, yours to keep for one payment, and they work anywhere .cube works, including on the phone.

What's inside

• Neutral Rec.709: the technical one. A correct Apple Log to Rec.709 conversion and nothing else, for when you want to do the grading yourself. Start here if you're unsure.

• Warm Cinematic: warmed mids, teal pushed into the shadows, skin held through the warmth. The default "this looks like a film" answer.

• Cool Moody: cooled and deepened, with skin protected so faces don't go blue along with everything else. Overcast, interiors, night exteriors.

• High Contrast: the punchiest here. Crushed blacks and lifted saturation for anything that needs to cut through on a phone screen.

• Faded Film: matte blacks and reduced saturation, the softest look in the set.

Which one should you use?

If you plan to grade afterwards, use Neutral Rec.709 and build on top of it. If the clip is going straight to Reels or TikTok, High Contrast survives compression and small screens best. Otherwise pick by the light.

How to use them

1. Download the pack. Every look is a separate .cube file.

2. Load one in your editor, Final Cut Pro, Premiere Pro, DaVinci Resolve, CapCut, VN, or LumaFusion. LumaFusion and VN both take .cube files on the phone itself.

3. Do not convert the footage to Rec.709 first. These already contain the conversion. Stacking two is the most common way this goes wrong.

Which phones is this for?

Apple Log arrived with the iPhone 15 Pro and 15 Pro Max and is on every Pro model since. You have to turn it on. It lives under Settings → Camera → Formats → Apple ProRes, with Log selected as the colour profile, and it only records in ProRes. If you shot in the standard profile, or in HDR/Dolby Vision, this pack is the wrong tool: that footage is already display-referred and these will over-contrast it badly.

ProRes needs space

Apple Log only records in ProRes, which runs to roughly 6 GB per minute at 4K60. Record to an external SSD over USB-C if you're shooting anything long. This is the practical limit people hit first, well before colour becomes the problem.

Film stock looks

Ten more files, built with Luttie's film engine: five film stocks for Apple Log and the same five for Apple Log 2, the wider-gamut log profile on the iPhone 17 Pro. Each decodes its log curve and colour gamut, then develops the image through a film stock, so apply it straight to the log footage. Use the files marked Apple Log 2 on iPhone 17 Pro footage recorded in Apple Log 2.

• Portrait 400 · Scan — inspired by Kodak Portra 400, scanned: soft contrast, warm skin, pastel highlights.
• Tungsten 500 · Cinema Print — inspired by Kodak Vision3 500T, through a print inspired by Kodak 2383: night and interiors, clean cool shadows, dense blacks.
• Daylight 250 · Cinema Print — inspired by Kodak Vision3 250D, through the same cinema print: neutral daylight colour with a projected-film finish.
• Soft 500 · Soft Print — inspired by Fuji Eterna 500, through a gentler print inspired by Fuji 3513DI: muted colour, soft contrast.
• Vivid 100 · Scan — inspired by Kodak Ektar 100, scanned: saturated, punchy colour.

Luttie's film stocks are its own, shaped after published data about the films named. They aren't measured copies, and Luttie isn't affiliated with Kodak or Fujifilm. To adjust one, set the same stock and source in the film engine and export your own.

Make them yours

Every look here is a starting point. Load one in the Luttie editor, adjust it, and export your own .cube. There's a full walkthrough in the iPhone ProRes Log grading guide.