The LUT From My iPhone 18 Pro Review

The free LUT that you can download here does one job! It takes Apple Log 2 to Rec.709 so your clips look normal again. That's it!

This LUT is where the magic happens. It does that same conversion and adds my film print look on top, in the same step. One LUT, one click, and the clip is finished rather than neutral.

Apple ships its own Apple Log 2 to Rec.709 LUT, and it is free. I rendered both through the same frames and measured the difference rather than arguing about it.

• Middle gray. Apple puts 18 percent gray at 53 percent signal. Mine sits at 45, and my free conversion LUT at 47. Apple starts you about half a stop brighter than I want to start.
• Skin in daylight. Apple pushes a face toward magenta, measuring 37 on the red and magenta axis where mine reads 16.
• Skin under tungsten. Apple roughly doubles the saturation of skin, 49 against my 26, which is the reading behind that orange look you get indoors.

None of that makes Apple’s LUT wrong. It is a brighter, more saturated rendering that looks a bit generic though. If you have both, put them on the same clip and you will see all three of these in about ten seconds.

The iPhone 17 Pro, 17 Pro Max, 18 Pro, and 18 Pro Max because those are the phones that record Apple Log 2 (and this LUT is built for Apple Log 2). Built and verified on iPhone 18 Pro Max footage.

iPhone 15 Pro and 16 Pro: mostly work. They record the earlier Apple Log, so the LUT loads and the tone looks the same, but the colors shift slightly because the older Log uses a different gamut. Easily tweak-able though!

Not for HLG or standard video. The LUT is expecting a Log curve. Put it on anything else and the image will look wrong. Use my DCTL for that. 

On the phone: Settings, Camera, Formats, Apple Log. Then pick Log in the Camera app before you record.

Better still, record with the Final Cut Camera app or the Blackmagic Camera app. Both give you Log plus a monitoring LUT slot. Load the 33 point cube from the Phone Monitoring folder there and your screen shows the finished look while the phone records Log, so you can judge exposure and skin on the spot instead of squinting at a flat gray image.

DaVinci Resolve, Premiere Pro, Final Cut Pro, CapCut, and literally any other software that loads a .cube file.

DaVinci Resolve: This LUT expects a Rec.709 timeline, so I would bypass Color Management on any clips you apply it to.

Premiere Pro 2026: nothing to switch off.

Premiere Pro Beta, Color Mode: use Add Clip LUT and leave Color Space on Rec. 709 (Scene).

Final Cut Pro: set Camera LUT to None first, or you get the conversion twice.

A 65 point .cube for editing, a 33 point .cube in a Phone Monitoring folder for camera apps and CapCut, a DaVinci Resolve PowerGrade with three nodes (exposure and white balance trim before the LUT, the LUT, then contrast and saturation trim after), Mac and Windows installers, and a READ ME setup tutorial with exposure tips.

Use the .cube LUT if you want it done. Drop it on the clip and that is the look, in any editor.

Open the PowerGrade if you edit in DaVinci Resolve and you want room to work. It is the same look split into three nodes, so you can trim exposure and white balance before the LUT and contrast and saturation after it, without fighting the look itself.

The easiest! Run the installer for your computer and the LUT shows up in your editing apps. On a Mac that is Resolve, Premiere Pro, and Final Cut Pro. On Windows it is Resolve and Premiere Pro (because Final Cut is Mac only).

Anywhere else, it is a standard .cube file, so you drop it in that app's LUT folder and you are done. Written instructions are included either way, and if you get stuck, email me.

My hope is that you are happy with this purchase. If you have any issues or need help, please get in touch and I will help in any way I can, including giving you a refund if needed.