Guides

What we learned building PursuitLuts, written down plainly. No sign-up, no upsell in the middle.

• Why your LUT looks wrong in DaVinci ResolveThree settings turn a correct LUT into a wrong picture: color science, the clip input, and where the LUT sits. Which one you have, and the fix.
• Color Space Transform settings for every cameraThe exact input settings to choose in DaVinci Resolve for RED, Canon, Sony, Nikon and Apple log, and what the tone mapping and gamut mapping options do, in plain terms.
• Canon Log 2 or Canon Log 3, and which LUT you needWhat separates Canon Log 2 from Canon Log 3, how to tell which one you shot, and why the wrong choice makes footage look about a sixth of a stop off.
• Canon Log 3 and Cinema Gamut in DaVinci ResolveThe exact Resolve settings for Canon Log 3 and Cinema Gamut from the C80, C70 and R5 C, the 0.9 factor that makes a correct conversion look dark, and what triple base ISO changes.
• Apple Log vs Apple Log 2 on the iPhone 17 ProThey are different curves, the camera badge says ProRes Log for both, and DaVinci Resolve 21 only has one of them. How to tell which you shot, and what works.
• S-Gamut3 vs S-Gamut3.Cine: which to shootSame S-Log3 curve, so neither holds more detail. Only color changes, about 3.5 degrees of hue. Which to shoot, and what the wrong one costs.
• How we checked our LUTs against Resolve itselfWe had DaVinci Resolve write out its own conversion for six camera log formats and compared ours against it, point by point.
• Using these LUTs in Premiere Pro and Final Cut ProThe same .cube files work in Premiere and Final Cut. What changes is one setting in each app that otherwise converts your log footage before the LUT ever sees it.
• Where DaVinci Resolve keeps LUTs, and why yours won't show upThe LUT folder on Mac, Windows and Linux, the button that opens it for you, and the six reasons a LUT you copied in doesn't appear in the menu.
• RED IPP2, Log3G10 and REDWideGamutRGB, and which LUT you needWhat IPP2 actually is, what the two names in your Camera Raw tab mean, the settings a RED clip needs before a LUT, and why two of those controls are grayed out.
• RED IPP2 or Legacy color science, and which LUT you needOlder RED footage offers two ways to decode the same clip. What IPP2 changed, how to tell which you are looking at, and what picking the wrong one costs, measured.
• Nikon N-Log in DaVinci Resolve, and the N-Gamut that isn't thereResolve has no N-Gamut option, which stops a lot of Nikon shooters. What to pick instead, why it is correct, and what the usual wrong choice costs, measured.
• DCTL vs LUT: what is actually differentA LUT is a grid of points with everything between them worked out. A DCTL is the math itself, on every pixel. We measured the gap on real footage, and it is smaller than the marketing suggests.

Looking for the files themselves? Packs for RED, Canon, Sony and Nikon.