RED IPP2, Log3G10 and REDWideGamutRGB, and which LUT you need

Three names, one setting each, and then your LUT has what it expects. None of them change what the camera recorded.

Shooting RED? PursuitLuts for RED is built for exactly these settings, with the conversion and a finished look in one file.

What IPP2 is

IPP2 is RED's way of turning the raw recording into a picture. Older RED cameras used pairs of names like REDgamma4 and DRAGONcolor2, a different pair per sensor. IPP2 replaced all of them with one pair that stays the same across cameras: REDWideGamutRGB and Log3G10. That's why one LUT can serve every RED body.

What the two names mean

• REDWideGamutRGB is the range of colour. RED sized it to hold every colour its cameras can produce, so nothing is thrown away before you grade.
• Log3G10 is the brightness curve. In RED's own words, the 3G means middle grey sits a third of the way up the recording. The 10 means it holds detail up to ten stops brighter than middle grey. That headroom is why a log picture looks flat and grey until something converts it.

The settings a RED clip needs

1. On the Color page, open the Camera Raw tab and set Decode Using to Clip or Project, so you can see the controls.
2. Set Color Science to IPP2.
3. Set Color Space to REDWideGamutRGB and Gamma Curve to Log3G10.
4. In Project Settings, Color Management, set colour science to DaVinci YRGB. That's the mode where Resolve leaves your colours alone and lets the LUT convert them.
5. Put the LUT on your last node.

That's the whole setup. Each PursuitLuts file for RED carries the conversion and the look together, so nothing else is needed for most shots.

Why Output Tone Map and Highlight Roll Off are greyed out

Once Color Space and Gamma Curve are set to REDWideGamutRGB and Log3G10, those two controls stop responding. That's correct. They belong to Resolve's own conversion to a finished picture, and you've asked for the flat log picture instead. Your LUT does the converting. If they still work, something is converting your footage early. Your LUT is then working on a picture that has already been converted once.

ISO, exposure and white balance

RED records raw, so ISO and white balance are choices you can still change for free in the Camera Raw tab. Change them there, before the LUT, rather than pushing brightness around afterwards. Fixing exposure in Camera Raw uses everything the sensor caught. Fixing it after the LUT only works with what survived the conversion.

Which file to use

Pick by where the video will be watched, not by what you shot on. Web for YouTube, social and phones, TV for broadcast and professional monitors, Cinema for projectors. The camera part of the file name has to match how the clip was shot, and for RED that's the Log3G10 file.

Does this match what Resolve would do on its own?

Yes, for the conversion part. We checked our RED conversion against Resolve's own, and the two agree to about one part in ten thousand. Here's how we tested that, for all six camera formats we support.

Older RED footage

If a clip's Camera Raw tab doesn't offer IPP2, that footage predates it, and the settings above won't be there. Our RED files expect Log3G10 and REDWideGamutRGB, so they aren't the right tool for those clips as they stand. Email hello@pursuitlabs.ai and we'll tell you honestly whether it's worth it.

Updated 2026-09-18. All guides