LUTs for Apple Log and iPhone ProRes Log
The conversion and the look are both inside the file, so there is nothing to set up first and nothing to fix afterwards. Drop it on and the shot is finished.
iPhone 17 Pro Max, 17 Pro, 16 Pro Max, 16 Pro, 15 Pro Max and 15 Pro recording Apple Log.
What it does to a picture
The same shot, without and with PursuitLuts.
Without PursuitLuts
PursuitLuts: Film
Our files render the same scene the same way on every camera we support, and we measure that rather than claim it. How we check.
What's in the Apple pack
Apple Log / Rec.2020
What iPhone 15 Pro and later record as ProRes Log.
Each format comes in three versions, each in its own folder. Web is for YouTube, social media, laptops and phones, and it's the one most people want. TV is for broadcast and professional monitors. Cinema is for projectors only, not Mac or iPhone screens.
Five looks, all included
Three scenes through each look. Every camera's files render them the same way.
The same colors through each look
Every color, dark on the left to very bright on the right, with a gray ramp along the bottom. It is the quickest way to see what a look actually does.
15 files in the Apple pack: every look, every format, every output.
Resolve has no gamut entry called Apple, because Apple Log records the Rec.2020 primaries. Set the input to Rec.2020 with Apple Log. We confirmed that is correct by measuring it against Resolve.
Read this before you shoot. Apple Log and Apple Log 2 are not the same thing. Log 2 arrived with the iPhone 17 Pro and records a wider gamut, which is what changes, not the dynamic range. Because the gamut differs, a file built for Apple Log lands wrong on Log 2 footage. DaVinci Resolve 21.1.1 does not offer Apple Log 2 at all, so there is no correct path for that footage in Resolve yet, with our files or without them. The camera screen says "ProRes Log" for both. The setting that tells you is Settings, Camera, Formats, ProRes Log Video Encoding. These files are for Apple Log. The full story is here. Measured against a color chart. We filmed a Calibrite ColorChecker Classic on an iPhone 17 Pro Max in open shade, across four exposures covering two and a half stops, and fitted a correction from the gap between the chart's true colors and what the phone recorded. Average color error drops from 5.26 to 2.16 CIEDE2000 on frames the correction had never seen. Two things worth saying plainly. That 2.16 is a larger number than our cinema camera packs reach, because a phone sensor starts further from the reference. And doubling the frames moved it by 0.04, so it is the floor of this correction on this sensor rather than a shortage of measurement. Measured on a 17 Pro Max, right for that body and closer than nothing for a 15 Pro or 16 Pro.
PursuitLuts for Apple
$29 one time
15 files, every look included. Instant download, yours to keep.
Shoot more than one camera? All five is $79.
Secure checkout by Stripe.
Also available: the same color as a DCTL, $79
The same math, run on every pixel instead of stored on a grid, with the look, the output, strength, exposure and warmth as sliders on the node. Exposure runs in scene light before the look, which is where you want it and where a LUT cannot reach. One file covers TV, web and cinema instead of three.
It does not look better. We measured our 65 point files against the math and the gap is below what anyone can see, which is why we ship 65 point files. Buy this for the controls, not for the color. It needs Resolve Studio, it will not load in the free version, and Golden Hour is not in it because that look is a measured grid rather than a formula. The measurements are here.