No. 01 / 77 · Original
Autumn Ember
An original look
Summer into autumn: greens turn towards amber and gold, while skin and sky stay natural.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
The Joseph Carey LUT library
77 looks.
77 looks.
All free.
I built every one of these for my own footage: 68 looks inspired by the grades of films I love, and 9 originals of my own. Each comes in 6 camera versions, so that’s 462 LUTs, and they’re all free.
- Looks
- 77
- LUT files
- 462
- Camera profiles
- 6
- Price
- £0
Made by me
Built from scratch
My own recipes
Every look starts as its own recipe and is rendered through a standard, published display curve. Nothing is taken from a paid pack, which is why I can give them away.
Tried on real footage
Every look is shown on the same three frames of Apple Log footage from a tricycle ride through Manila, so you can compare them like for like.
Matched across cameras
Canon Log 3, Canon Log 2, Apple Log, S-Log3, LogC3 and Rec709 versions all go through the same curve, so a look matches whichever camera you shot on.
Before and after
Try any look
Pick a look and a scene, then drag across the frame to see the flat log footage underneath.
For colourists
The colour balance chart
Every look measured from its own Rec709 LUT: the cast it puts in the shadows, midtones and highlights, its tone curve, saturation, what it does to skin, and a 24-patch colour checker before and after. Each dot on the wheel is a look, placed by its overall cast.
- Contrast
- Blacks
- Whites
- Saturation
- Skin
The library
All 77 looks
68 looks inspired by films from 1960 to 2025, and 9 originals. Every card is a before and after: drag across it.
77 looks
All 77 previews
No. 02 / 77 · Original
Bleach Bypass
An original look
The look of skipping the bleach step in film processing: high contrast, about half the colour and a metallic grit.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 03 / 77 · Original
Cross Process
An original look
Slide film developed as a negative, the 90s music-video look: hard contrast, cyan-blue shadows, yellow-green highlights and reds pushed towards magenta.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 04 / 77 · Original
Day For Night
An original look
The old Hollywood trick of grading daylight into moonlight: about two stops darker, most of the colour gone, a blue tint and darker skies.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 05 / 77 · Original
Ironbow Thermal
An original look
A thermal-camera false-colour look that maps brightness to the classic ironbow palette, from black through purple and orange to white.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 06 / 77 · Original
Natural Base
An original look
A clean starting point for any footage: a gentle film S-curve for depth, highlights that roll off softly instead of clipping, and vibrance that lifts dull colours more than strong ones. Skin is protected.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 07 / 77 · Original
Portra Glow
An original look
Inspired by portrait film stock: lifted blacks, a soft shoulder, olive greens and teal-leaning blues, warm highlights and faintly cool shadows. Skin is lightly warmed.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 08 / 77 · Original
Red Accent
An original look
Selective colour: everything goes black and white except the reds, so red clothes, signs and brake lights pop.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 09 / 77 · Original
Selenium Mono
An original look
Black and white through a red-orange filter, which darkens skies, brightens skin and separates foliage, with a print curve and a subtle selenium tone.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 10 / 77 · Film look
6 Years
6 Years (2015), dir. Hannah Fidell, DP Andrew Droz Palermo
Intimate, low-key naturalism: soft contrast, gently cool greys against warm lamp light, saturation slightly reduced and neutral skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 11 / 77 · Film look
After Dark, My Sweet
After Dark, My Sweet (1990), dir. James Foley, DP Mark Plummer
Sun-bleached desert noir: hot, glaring overexposed highlights, pale bleached skies, sandy yellows and burnt oranges, and strong contrast into deep interior shadows.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 12 / 77 · Film look
Beach Rats
Beach Rats (2017), dir. Eliza Hittman, DP Hélène Louvart
A Super 16 night world: deep, dense blacks, dark exposure, neon teal and magenta, and sodium orange kept vivid, with slightly warm skin. The heavy grain is in the texture preset.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 13 / 77 · Film look
Before I Disappear
Before I Disappear (2014), dir. Shawn Christensen, DP Daniel Katz
Moody New York nights: deep blacks, blue-teal shadows and saturated neon magentas, reds and teals that bloom.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 14 / 77 · Film look
Blanco - Bruciasse il cielo
Blanco - Bruciasse il cielo (2023), dir. Simone Peluso
Built as a modern, punchy, travel-documentary grade: clean contrast, vivid but skin-safe colour, cool shadows and warm highlights.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 15 / 77 · Film look
Blue Ruin
Blue Ruin (2013), dir. Jeremy Saulnier, DP Jeremy Saulnier
Austere low-budget naturalism with a blue-washed, desaturated palette, lifted digital shadows and pale cool skin. The film warms toward its finale; this LUT is the dominant blue look.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 16 / 77 · Film look
The Bourne Identity
The Bourne Identity (2002), dir. Doug Liman, DP Oliver Wood
Naturalistic, cool-muted European winter: Paris blues and grey-greens, moderate contrast with dense but uncrushed blacks, and skin left as the main warm element.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 17 / 77 · Film look
The Bourne Supremacy
The Bourne Supremacy (2004), dir. Paul Greengrass, DP Oliver Wood
The template for the 2000s "Bourne look": cold, desaturated steel and grey-green Moscow and Berlin, crushed night blacks, a harder contrast than the lighting, and visible grain. Skin is the only warmth.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 18 / 77 · Film look
The Bubble
The Bubble (2006), dir. Eytan Fox, DP Yaron Scharf
Sunny, vibrant Tel Aviv: warm pastel whites, sandy yellows, blue sky and sea, slightly lifted mid-2000s indie shadows and sun-tanned skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 19 / 77 · Film look
Burn
Burn (2019), dir. Mike Gan, DP Jon Keng
Inferred from setting (low confidence): fluorescent green-yellow store light against a blue-black winter night, punchy contrast, and neon red and blue accents. Skin goes deliberately waxy and green.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 20 / 77 · Film look
Burning Days
Burning Days (2022), dir. Emin Alper, DP Christos Karamanis
Sun-scorched Anatolian western-noir: dust-bleached ochres and beiges, bleached whites, greens burned toward ochre, pale hot skies, medium-high contrast and sun-reddened skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 21 / 77 · Film look
Candy (Heaven)
Candy (Heaven) (2006), dir. Neil Armfield, DP Garry Phillips
The romantic "Heaven" chapter: warm, sun-flooded saturation with golds, greens and blues, a soft glow and flushed skin. A second LUT covers the drained "Hell" chapter.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 22 / 77 · Film look
Candy (Hell)
Candy (Hell) (2006), dir. Neil Armfield, DP Garry Phillips
The drained final chapter: bruised, dirty greens and greys, denser, rawer blacks and pallid, sickly skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 23 / 77 · Film look
Colombiana
Colombiana (2011), dir. Olivier Megaton, DP Romain Lacourbas
A slick EuropaCorp Super 35 finish through a 2383-style print: punchy clean blacks, chrome-blue shadows, emerald greens nudged toward teal, and warm glossy skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 24 / 77 · Film look
Dazed and Confused
Dazed and Confused (1993), dir. Richard Linklater, DP Lee Daniel
Hazy golden 1976 Texas: warm amber printer lights, yellowed greens, pale skies, slightly lifted soft shadows, warm hazy highlights and golden-orange skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 25 / 77 · Film look
Drugstore Cowboy
Drugstore Cowboy (1989), dir. Gus Van Sant, DP Robert Yeoman
Early-70s Pacific Northwest: green-dominant tonality (walls, rain, foliage), mustard and nicotine yellows, slightly milky soft blacks, low-medium saturation and warm-pale skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 26 / 77 · Film look
Déjà Vu
Déjà Vu (2006), dir. Tony Scott, DP Paul Cameron
Tony Scott's abrasive style: teal-steel shadows against amber-orange highlights, high contrast with a bleach-bypass edge, punchy selective saturation and bronze skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 27 / 77 · Film look
Everybody Knows
Everybody Knows (2018), dir. Asghar Farhadi, DP José Luis Alcaine
Alcaine's sun-kissed Spanish summer: ambers, ochres and terracotta, golden highlights, glowing tanned skin and moderate contrast with rich interior shadows.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 28 / 77 · Film look
Everybody Wants Some!!
Everybody Wants Some!! (2016), dir. Richard Linklater, DP Shane F. Kelly
Sunny, open 1980 Texas: bright clear blue skies, open gentle shadows with few deep blacks, healthy warm skin and clean, cheerful colour. Less hazy than Dazed.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 29 / 77 · Film look
Fighting
Fighting (2009), dir. Dito Montiel, DP Stefan Czapsky
Grimy but warm, lived-in New York: warm ambers and browns with city blues in the shadows, moderate contrast and ruddy natural skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 30 / 77 · Film look
Five Corners
Five Corners (1987), dir. Tony Bill, DP Fred Murphy
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 31 / 77 · Film look
The Forgiveness of Blood
The Forgiveness of Blood (2011), dir. Joshua Marston, DP Rob Hardy
Muted documentary realism in rural Albania: dusty browns, grey-green hills, faded village whites and pale blues, soft overcast contrast and natural, slightly muted skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 32 / 77 · Film look
Four Letter Words
Four Letter Words (2000), dir. Sean Baker, DP Sam Selva
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 33 / 77 · Film look
Ghosts (Gespenster)
Ghosts (Gespenster) (2005), dir. Christian Petzold, DP Hans Fromm
Cool, unadorned Berlin: greyed and desaturated park greens, concrete greys, glass blues and pale cool skin. Contrast is moderate and nothing is pushed.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 34 / 77 · Film look
Highway
Highway (2002), dir. James Cox, DP Mauro Fiore
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 35 / 77 · Film look
The Holdovers
The Holdovers (2023), dir. Alexander Payne, DP Eigil Bryld
A slightly faded early-70s release print: dense blacks with a soft toe so shadows keep texture, yellow-biased highlights (base stain), gentle cyan-dye fade, muted earthy saturation, forest greens, muted maroons and blue-grey winter exteriors.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 36 / 77 · Film look
The Holdovers: Clean 1970 Print
The Holdovers (2023), as a 1970s release print
The Holdovers print stock fresh from the lab in 1970: the period colour and contrast without the ageing.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 37 / 77 · Film look
The Holdovers: Heavy Fade
The Holdovers (2023), as a 1970s release print
The same print left in a hot vault for fifty years: strong dye fade, a yellowed base and a softer, milkier black.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 38 / 77 · Film look
The Honest Candidate
The Honest Candidate (2024), dir. Luis Felipe 'Pipe' Ybarra, DP Alejandro Martínez
A clean, bright, warm commercial comedy finish: low-to-medium contrast, clean blacks, lively saturated colour and glossy warm skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 39 / 77 · Film look
I Origins
I Origins (2014), dir. Mike Cahill, DP Markus Förderer
The cool lab-and-New-York look that frames most of the film: clean digital contrast, blue-grey shadows and mids, irises and blues kept vivid, and warm natural skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 40 / 77 · Film look
Incendies (Past)
Incendies (Past) (2010), dir. Denis Villeneuve, DP André Turpin
The Middle-East past timeline: dusty ochre and red-brown earth, crushed blacks, bright bloomed overexposed exteriors, greens and blues drained, and warm-brown fatigued skin. A second LUT covers the cold Montreal present.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 41 / 77 · Film look
Incendies (Present)
Incendies (Present) (2010), dir. Denis Villeneuve, DP André Turpin
The Montreal present: cool blues and greys, sterile greens, blue night and paler skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 42 / 77 · Film look
Jerichow
Jerichow (2008), dir. Christian Petzold, DP Hans Fromm
Berlin School restraint: cool-neutral Baltic daylight, pale flat skies, dull greens and straw yellows, lower print contrast and pale, slightly cool skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 43 / 77 · Film look
Jockey
Jockey (2021), dir. Clint Bentley, DP Adolpho Veloso
Magic-hour Arizona in gold and blue: golden hazy highlights over cool blue shadows, soft contrast for silhouettes, and warm weathered skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 44 / 77 · Film look
Ken Park
Ken Park (2002), dir. Larry Clark & Ed Lachman, DP Edward Lachman
Lachman's polished, warm Central Valley suburbia: rich, deep film blacks, warm tungsten interiors, muted greens and carefully rendered warm skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 45 / 77 · Film look
Kids
Kids (1995), dir. Larry Clark, DP Eric Alan Edwards
Raw, near-documentary New York summer: harsh contrasty sun, natural colour without stylisation, and sallow, slightly yellow-green unglamorous skin. Heavy grain in the texture preset.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 46 / 77 · Film look
La Chimera
La Chimera (2023), dir. Alice Rohrwacher, DP Hélène Louvart
Organic Super 16 Italian countryside: ochre, terracotta and faded olive, washed-out blues, warm textured skin and a slightly hazy, faded roll-off.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 47 / 77 · Film look
Lords of Dogtown
Lords of Dogtown (2005), dir. Catherine Hardwicke, DP Elliot Davis
The early-DI "sun-blasted 70s" look: crushed, dense blacks, hot backlit golden highlights, orange tanned skin, and faded denim blues (blues held back) with warm oranges and golds pushed.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 48 / 77 · Film look
Love Lies Bleeding
Love Lies Bleeding (2024), dir. Rose Glass, DP Ben Fordesman
Vanessa Taylor's film-emulation grade: red-forward palette (reds pushed in hue, saturation and luminance), rich saturated shadows, deep blacks, flushed skin, sickly fluorescent greens and neon magenta. Strong halation in the texture preset.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 49 / 77 · Film look
Margaret
Margaret (2011), dir. Kenneth Lonergan, DP Ryszard Lenczewski
Grainy, ashen, bleached-out New York: muted greys, blues and browns, bleached windows and skies, bruised shadows and pale realistic skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 50 / 77 · Film look
Monster
Monster (2003), dir. Patty Jenkins, DP Steven Bernstein
Desaturated, sun-faded Florida: low contrast without milky blacks (Tiffen Soft Contrast style), bleached pastel highlights, dull motel greens and tans, and pale blotchy skin. The heavy grain from underexposed 500T is in the texture preset.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 51 / 77 · Film look
Munich
Munich (2005), dir. Steven Spielberg, DP Janusz Kamiński
Kamiński's gritty 70s thriller: partial silver retention for contrast and desaturation, earthy browns, olive greens and burnt orange, faded blues, slightly hot silvery highlights and lots of grain. A second LUT covers the near-colourless full bleach-bypass scenes.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 52 / 77 · Film look
Munich (Bleach Bypass Scenes)
Munich (Bleach Bypass Scenes) (2005), dir. Steven Spielberg, DP Janusz Kamiński
The almost colourless bleach-bypass treatment used for the massacre and refugee-camp scenes: silvery, high contrast and dense, with colour nearly gone.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 53 / 77 · Film look
Mustang
Mustang (2015), dir. Deniz Gamze Ergüven, DP David Chizallet & Ersin Gök
Honey-gold backlit Turkish summer: soft contrast, gentle blacks, glowing hazy sunlit highlights, lush greens and warm sun-kissed skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 54 / 77 · Film look
Night on Earth
Night on Earth (1991), dir. Jim Jarmusch, DP Frederick Elmes
One night, five cities: deep dense blacks, a blue-black night around pools of warm tungsten and sodium practicals, and warm cab-lit faces. Strong practical halation in the texture preset.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 55 / 77 · Film look
Nitram
Nitram (2021), dir. Justin Kurzel, DP Germain McMicking
A soft, nostalgic, "printed on paper" image: lifted, print-like soft blacks, muted greens, beiges and faded pastels, neutral-warm skin, and halation on highlights from the vintage Ultra Speeds (in the texture preset).
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 56 / 77 · Film look
On the Road
On the Road (2012), dir. Walter Salles, DP Éric Gautier
Warm, dusty 1940s Americana: amber and ochre warmth, greens shifted to olive, big-sky blues kept, soft natural blacks and golden sunlit skin. Slightly desaturated as a period grade.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 57 / 77 · Film look
Oslo, August 31st
Oslo, August 31st (2011), dir. Joachim Trier, DP Jakob Ihre
Neutral Nordic late summer: clean whites, neutral balance, gentle open contrast, muted soft greens and pale clean skin. The film emulsion carries the look rather than colour.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 58 / 77 · Film look
Pain & Gain
Pain & Gain (2013), dir. Michael Bay, DP Ben Seresin
Maximum-saturation Bay sheen: teal and aqua skies and water against bronzed orange skin, Miami pinks, high contrast and deep punchy blacks.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 59 / 77 · Film look
The Panic in Needle Park
The Panic in Needle Park (1971), dir. Jerry Schatzberg, DP Adam Holender
Gritty early-70s vérité: drab browns, greys, olive and dirty yellow-green, slightly milky blacks, sallow grey skin, and a faintly faded Eastmancolor print. Heavy grain in the texture preset.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 60 / 77 · Film look
Phone Booth
Phone Booth (2002), dir. Joel Schumacher, DP Matthew Libatique
"Ice cold" New York dusk-to-night: steel blue-teal shadows, sodium amber light on faces, hot red and blue accents, and high contrast with inky blacks.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 61 / 77 · Film look
Presumed Innocent
Presumed Innocent (1990), dir. Alan J. Pakula, DP Gordon Willis
Gordon Willis, "the Prince of Darkness": underexposed, deep brown-amber shadows, dense blacks, muted browns and yellows, and warm dusky top-lit faces.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 62 / 77 · Film look
Red Rocket
Red Rocket (2021), dir. Sean Baker, DP Drew Daniels
Saturated organic 16mm Texas: vivid reds and hot sky blues dominate, pastel pinks pop, skin is sun-baked and warm, and blacks are dense from overexposing then printing down. Strong orange halation in the texture preset.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 63 / 77 · Film look
The Return
The Return (2003), dir. Andrey Zvyagintsev, DP Mikhail Krichman
Krichman had the lab skip the bleach bath entirely. The model retains 75% of the print's silver, which gives high contrast, dense blacks, silvery highlights and near-monochrome cool blue-grey-green with tarnished olive greens.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 64 / 77 · Film look
The Salton Sea
The Salton Sea (2002), dir. D. J. Caruso, DP Amir Mokri
Slick neo-noir split: cold cyan-teal and sickly green shadows against bleached amber desert highlights, with high contrast and pale, waxy skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 65 / 77 · Film look
Shame
Shame (2011), dir. Steve McQueen, DP Sean Bobbitt
Cold, glassy Manhattan: steely muted greys, blue-teal interiors, deep night blacks, pale clinical skin, and warm amber practicals allowed through. Visible 2-perf grain in the texture preset.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 66 / 77 · Film look
The State I Am In
The State I Am In (2000), dir. Christian Petzold, DP Hans Fromm
Early Berlin School naturalism: unadorned 35mm with muted sea blues, sandy beiges and pale greens, bright coastal sun with soft roll-off and sun-warmed skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 67 / 77 · Film look
Stay
Stay (2005), dir. Marc Forster, DP Roberto Schaefer
A cold, steel-blue Manhattan: teal-grey shadows, restrained saturation, neutral-to-cool pale skin, and isolated warm tungsten and brown accents allowed to survive.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 68 / 77 · Film look
Thelma & Louise
Thelma & Louise (1991), dir. Ridley Scott, DP Adrian Biddle
Ridley Scott haze in the Southwest: warm reds, oranges and sandy earth, turquoise accents, hazy backlit highlights, deep print blacks and red-gold sun-baked skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 69 / 77 · Film look
Thirst
Thirst (2009), dir. Park Chan-wook, DP Chung Chung-hoon
Green-tinged tungsten, deep vampire shadows and lush saturated design: a green printer offset over warm light, rich blood reds and blues, and pale green-tinted skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 70 / 77 · Film look
Tigerland
Tigerland (2000), dir. Joel Schumacher, DP Matthew Libatique
Bleach-bypassed Super 16 blow-up: washed-out olive and khaki greens, pale grey-green sweaty skin, hot blown-out skies, high contrast with flat overcast mids, and very heavy grain.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 71 / 77 · Film look
Tomboy
Tomboy (2011), dir. Céline Sciamma, DP Crystel Fournier
Quiet, sunlit summer naturalism: soft contrast with gentle lifted blacks, soft greens, blue-white, faintly retro pastel tones and warm natural skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 72 / 77 · Film look
Train Dreams
Train Dreams (2025), dir. Clint Bentley, DP Adolpho Veloso
Soft vintage-lens digital: deep but detailed shadows, softly rolled highlights, earthy forest greens leaning brown, misty blue-greys and warm firelight. Saturation is held below normal.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 73 / 77 · Film look
The Tribes of Palos Verdes
The Tribes of Palos Verdes (2017), dir. Emmett & Brendan Malloy, DP Giles Dunning
Sun-washed SoCal coast: airy, slightly lifted blacks, glowing golden highlights, teal sea and sun-kissed tan skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 74 / 77 · Film look
Under the Tuscan Sun
Under the Tuscan Sun (2003), dir. Audrey Wells, DP Geoffrey Simpson
Glossy golden Italian postcard: warm printer lights, saturated ochre, terracotta and olive, deep Mediterranean blue sky, soft lifted blacks, a gentle glow and flattering golden skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 75 / 77 · Film look
White Nights (Belye nochi)
White Nights (Belye nochi) (1960), dir. Ivan Pyryev, DP Valentin Pavlov
Painterly Soviet dye-print pastel: low contrast with soft lifted blacks, a lavender-blue twilight sky, cream and ochre buildings, glowing warm windows and rosy-peach skin.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 76 / 77 · Film look
Will & Harper
Will & Harper (2024), dir. Josh Greenbaum, DP Zoë White
A clean, bright, polished road-trip documentary: natural skin, gentle vibrance for skies and diner reds, and a slight warmth.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No. 77 / 77 · Film look
Y Tu Mamá También
Y Tu Mamá También (2001), dir. Alfonso Cuarón, DP Emmanuel Lubezki
Warm 35mm print with sunlit golden skin, turquoise sea and sky pushed a touch toward teal, and rich but organic greens. Highlights run slightly hot with a filmic roll-off.
Rec709 · Canon Log 3 · Canon Log 2 · Apple Log · S-Log3 · LogC3
No look matches that. Try a film title, a director or a word like mono.
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Rec70977 looks · 18.4 MB · .zipDownload all →Canon Log 377 looks · 16.0 MB · .zipDownload all →Canon Log 277 looks · 13.8 MB · .zipDownload all →S-Log377 looks · 15.7 MB · .zipDownload all →LogC377 looks · 14.9 MB · .zipDownload all →
Apple LogToo big for one fileIn every look’s own download
Free for personal and client work. Please don’t sell or re-share the files; link to this page instead. The film looks are inspired by each film’s grade. They aren’t the films’ own LUTs and aren’t affiliated with the films or their makers.
How to use them
Pick by camera, not by taste
Choose the version that matches how the clip was shot. Set exposure before the LUT, not after; a grey card helps.
| Version | For footage from | Grey card at |
|---|---|---|
| Rec709 | Normal video, phone footage, or log footage your editor has already converted | — |
| Canon Log 3 | Canon cameras in C-Log 3 with Cinema Gamut | About 34% |
| Canon Log 2 | Canon cameras in C-Log 2 with Cinema Gamut | About 40% |
| Apple Log | iPhone 15 Pro and later, in Apple Log | About 49% |
| S-Log3 | Sony cameras in S-Log3 / S-Gamut3.Cine | — |
| LogC3 | ARRI cameras in LogC3 (EI 800) / ARRI Wide Gamut 3 | — |
Premiere Pro
In Lumetri Color, open Creative, choose Browse from the Look menu and pick the .cube file.
DaVinci Resolve
Project Settings, Color Management, Open LUT Folder. Drop the files in, click Update Lists, then right-click a node and choose LUTs.
Final Cut Pro
Add the Custom LUT effect to the clip, then choose Custom LUT from the LUT menu in the inspector.
Photoshop
Add a Color Lookup adjustment layer, choose Load 3D LUT and pick the Rec709 .cube file.
Convert once
If your editor converts log to normal video automatically, use the Rec709 version. If you turn that off, use the log version. Doing both crushes the image.
Too strong?
Turn the LUT’s opacity or intensity down to 50 to 70%.
FAQ
Quick answers
Are the LUTs really free?
Yes. Use them on personal and client work as much as you like. The only ask: please don’t sell or re-share the files themselves. Link people to this page instead.
Are these the official LUTs from the films?
No. The film looks are my own, built from scratch to get close to each film’s grade on everyday footage. They aren’t the films’ own LUTs, and they aren’t affiliated with or endorsed by the films or their makers.
Which version should I use?
Pick by how the clip was shot, not by taste. For normal video, phone footage, or log footage your editor has already converted, use Rec709. For log footage, use the version for your camera’s log profile: Canon Log 3, Canon Log 2, Apple Log, Sony S-Log3 or ARRI LogC3.
Why does my footage look crushed or too saturated?
It has usually been converted twice: once by your editor’s automatic log conversion and again by the LUT. Either turn the automatic conversion off and use the log version, or leave it on and use the Rec709 version.
Do they work on iPhone footage?
Yes. Use the Apple Log version for footage shot in Apple Log (iPhone 15 Pro and later), and the Rec709 version for normal iPhone video.
Can I use them on photos?
Yes. In Photoshop, add a Color Lookup adjustment layer, choose Load 3D LUT and pick the Rec709 .cube file.
Why isn’t there a whole-library download for Apple Log?
The Apple Log versions are too big to fit in one file, so each look’s own download includes its Apple Log version instead.
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