PursuitLuts

Using these LUTs in Premiere Pro and Final Cut Pro

There is no separate version to buy. A .cube file is a .cube file. What differs is one setting in each app.

The thing that goes wrong in both

Premiere and Final Cut both try to help. Each one recognises log footage and converts it for you before you touch it. That is fine on its own, but a conversion LUT expects log. If the app already converted the picture, the LUT converts it a second time and the result looks wrong, usually too contrasty and too saturated.

So in both apps the job is the same: stop the app converting, then let the LUT do it.

Premiere Pro

  1. Select the clip, right-click, Modify, Interpret Footage, and open the Color tab. Turn on Preserve RGB. Adobe describes this exactly this way: it stops the conversion into the working colour space so you can convert with a LUT yourself.
  2. Open Lumetri Color, Basic Correction, and set Input LUT to Browse. Point it at the file for your camera.
  3. Grade with anything you add before that in the stack, the same principle as the node order in Resolve.

Premiere's Color Management lives in the Color Setup menu, in the Settings tab of the Lumetri Color panel. Automatic colour management can also be turned off there entirely, which Adobe recommends for traditional workflows that grade with LUTs.

Final Cut Pro

  1. Select the clip and open the Info inspector. Set Camera LUT to None, so the colour tools and effects work on the log values instead of a converted picture.
  2. Open the Effects browser, Window, Show in Workspace, Effects. In the Color category, double-click Custom LUT to apply it to the clip.
  3. In the Video inspector, under Custom LUT, click the LUT menu and choose Choose Custom LUT, then pick your file.
  4. Make sure Custom LUT is last in the effects list. Drag it to the bottom if it is not. Anything above it grades the log image, which is what you want.

After Effects

Same as Premiere. Lumetri Color, Basic Correction, Input LUT.

Which file to pick

Use the 709 file for normal screens. The 709 Web version suits a Mac and web delivery, and P3 is for cinema projection. The camera in the filename has to match how the clip was shot, not what you are exporting to.

One honest caveat

We build and test in DaVinci Resolve. The files are standard .cube LUTs and the maths is identical wherever they load, but each app's own colour handling differs, and the settings above are what keep it out of the way. If something looks off in Premiere or Final Cut, email hello@pursuitlabs.ai with a frame and we will work it out.

Updated 2026-09-12. All guides