Black & White LUT Pack — 8 Monochrome LUTs

Turning colour into black and white by dragging saturation to zero is the fastest way to make a flat image. A red barn and a green field can carry identical brightness — pull the colour out and they collapse into the same grey. Film photographers solved this a century ago with screw-on contrast filters, and that is what this pack is: eight .cube LUTs where the channel mix decides how colour becomes tone, before any curve is applied.

Eight looks, included with Luttie Pro, and they work anywhere .cube works.

What's inside

• Classic Mono — Rec.709-weighted neutral with a gentle S-curve. The reference black and white; start here.
• High Contrast Mono — deep blacks, bright whites, little in between. Street photography and architecture.
• Red Filter Sky — the classic landscape filter. Blue sky drops to near-black and clouds separate hard. The most dramatic look in the pack.
• Orange Filter Portrait — smooths skin the way an orange filter does: blemishes fall back, lips and freckles lighten. Softer curve so faces don't harden.
• Green Filter Foliage — lifts leaves off dark backgrounds instead of letting them merge. Nature, gardens, anything green.
• Matte Mono — lifted blacks and capped whites. The printed-on-matte-paper look that reads modern rather than archival.
• Selenium Tone — cool-shadowed, near-neutral highlights. A darkroom toning process reproduced as a split tone.
• Warm Sepia — warmth that reads as toned paper, kept well short of the orange-postcard version.

Which one should you use?

Pick by what's in the frame, not by taste. Skies and landscapes want Red Filter Sky. Faces want Orange Filter Portrait. Anything dominated by green wants Green Filter Foliage. If the subject has no strong colour cast at all — night, interiors, mixed scenes — Classic Mono or High Contrast Mono will do more for it than a filter mix would.

How to use them

1. Download the pack — every look as a separate .cube file.
2. Load one in your editor — DaVinci Resolve, Premiere Pro, Final Cut Pro, CapCut, VN, or LumaFusion.
3. Dial the intensity back if the look is stronger than the shot needs. Black and white is unforgiving about over-grading.

Shooting log?

These are built for standard Rec.709 footage and normal photos. If you're on S-Log3, D-Log M, C-Log or N-Log, apply your camera's conversion LUT first, then stack one of these on top.

Make them yours

Every LUT here opens in the Luttie editor. Change the channel mix, add grain and halation for a film-print feel, adjust the curve for your camera, then export your own .cube. That's how a preset becomes a look people recognise as yours.

Prefer to try before you buy?

The Classic B&W LUT is a free download, and the rest of the free LUT library is there too — no account needed. This pack is where the channel-mixer filters live.

FAQ

Do they work for photos as well as video?

Yes. .cube is a colour transform, not a video format. Lightroom, Photoshop, Affinity Photo and Capture One all take them.

Why do some of them have colour in them?

Selenium Tone and Warm Sepia are toned monochrome — the tone is deliberate, exactly as it was in a darkroom. The other six are strictly neutral grey.

Can I use these in client work?

Yes. Luttie Pro includes commercial use for everything you grade with it.