While Canon does offer official LUTs for C-log footage from their cinema line of cameras, those LUTs don't work well with C-log footage from the EOS R, R5, R6 and 5D Mark IV. They're too punchy, skin tones look off, and vibrant colors quickly turn toxic.
THIS LUT IS MADE FOR FOOTAGE SHOT IN TECHNICOLOR CINESTYLE ON CANON. IT HELPS YOUR COLORS BE BEAUTIFUL. If you like this, you'll love Victory II, our Cinestyle LUT. Remember the Monitoring LUT that I mentioned earlier (the one to help visualize how the video will look on an HDR display)? This is where we are going to put it to work. Under the 'Lookup Tables' section of the 'Color Management' tab: 3D Color Viewer Lookup Table: HDR Monitor 5 - Rec2100 ST2084 1000nit for Rec709.
That's why I decided to create a LUT package specifically for C-log footage from the EOS R, R5, R6 and 5D Mark IV. They convert the C-log footage to rec709 without altering the colors, and can be used for quick turnaround, or as a starting point for further grading.
C-log LUT Pack
The C-log LUT pack is compatible with all models that support C-log: the EOS R, R5 & R6 as well as the 5D Mark III and 1DX Mark III.
To account for various types of lighting, I've included a few different LUTs, in .cube format:
Rec 709 Lut Gh5
- C-Log to rec709 > works for most shots
- C-Log to rec709 Preserve Higlights > a punchier LUT while preserving highlights
- C-Log to rec709 Wide DR > a flatter LUT, great if you want to grade the footage further or add another LUT
- C-Log to rec709 Warm > a slightly warmer LUT to compensate for the cooler white balance on some models
- C-log to Rec709 Natural > Slightly more subtle than the standard LUT, for a more natural look. Also compensates for the gamma-shift that can occur when transcoding footage on some platforms.
The LUT pack also comes with a short guide on how to use these LUTs in different situations.
C-log3 LUT Pack
Free Rec709 Luts
The C-log3 LUT Pack is compatible with the Canon R5 and 1DX Mark III.
The C-log3 LUT Pack contains LUTs for both BT.709 and Cinema Gamut color spaces, including LUTs for high contrast scenes, low light and overexposed footage. I've designed the BT.709 LUTs to closely match the punchy look of the original C-log LUTs, while the Cinema Gamut LUTs have a more organic, cinematic feel.
Because log profiles retain most information in the midtones and higlights, it's best to over-expose slightly and bring down the exposure in post. I've found that in most situations you can safely over-expose C-log (especially C-log3) by 1 or 2 stops.
A LUT doesn't magically look good on every shot. When you apply the LUT, adjust the exposure/contrast until it fits the scene. For low-contrast scenes (e.g. a cloudy day), add contrast to taste. For low-light footage it's best no to over-expose and apply one of the included low-contrast LUTs, or dial back the intensity of the LUT.