Canon C-Log3 LUT Pack — 5 Conversion LUTs for Canon Log 3

C-Log3 gives you the dynamic range, and then it gives you a flat, grey image that looks nothing like what you pointed the camera at. These are conversion LUTs: each one decodes Canon's C-Log3 curve 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.

What's inside

• Neutral Rec.709: the technical one. A correct C-Log3 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 you want to be done, pick by the light: warm and sunlit wants Warm Cinematic, grey and overcast wants Cool Moody, and anything destined for social wants High Contrast.

How to use them

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

2. Load one in your editor, DaVinci Resolve, Premiere Pro, Final Cut Pro, CapCut, VN, or LumaFusion.

3. Do not apply a separate C-Log3 conversion first. These already contain it. Stacking two conversions is the most common way this goes wrong.

4. Set your white balance before the LUT, not after.

Which cameras is this for?

Anything Canon shooting C-Log3: the R5, R6, R5 II, R6 II, R7, R8, C70, C80, C400 and the rest of the current line. If your footage is C-Log (original) or C-Log2 instead, these will over-contrast it: those are different curves and need their own conversion. Check the picture profile in camera if you aren't sure.

Exposure matters more than the LUT

C-Log3 is usually rated a stop or two over the box speed, and a conversion LUT assumes you exposed it correctly. If your footage is dark, the LUT will faithfully convert dark footage. Lift exposure first, then apply the look.

Film stock looks

Five more files, built with Luttie's film engine. Like the rest of the pack they go straight onto C-Log3 footage: each one decodes C-Log3 and Cinema Gamut, then develops the image through a film stock.

• 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 C-Log3 grading workflow guide.