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Load a camera conversion LUT or a creative look, preview it on your own footage with tetrahedral interpolation, and save the result as a new video. The LUT and the video both stay on your device.
To apply a LUT to a video online, open the clip above, choose Import LUT on the LUT tab and pick your .cube or .3dl file. The preview changes straight away, LUT intensity controls how much of it you see, and Export video writes the result to a new file. Neither the LUT nor the footage is uploaded: your browser reads both from your device.
A LUT is only a table of colour conversions, so the same feature serves two different jobs. A technical LUT turns a camera’s log recording into normal video (the log to Rec.709 page explains when you need one), while a creative LUT adds a look. Apply LUT lets you put the file Before the grade for the first job or After the grade for the second. No LUT to hand? Any look on this site can be saved as one of our free .cube LUTs.
Drop it on the tool or choose Select video. Pro tools opens on the LUT tab, ready for a file.
Choose Import LUT and pick a .cube (3D from 2 to 65 points, or 1D) or a .3dl file. Its name and grid size appear underneath, so you can confirm you loaded the right one.
(enlarge image) Import LUT reads the .cube on your device; LUT intensity, Interpolation and Apply LUT appear underneath.
Under Apply LUT, choose Before the grade for a camera conversion LUT, so the sliders and wheels work on normal-looking video. Choose After the grade for a creative look that should sit on top of your corrections.
Lower LUT intensity if the look is heavy-handed. Leave Interpolation on Tetrahedral for the most accurate result; Trilinear is there for comparison with apps that use it.
Choose Export video, then Download video when Your video is ready appears. Remove LUT clears the file if you want to try another.
LUT stands for lookup table. A 3D LUT is a cube-shaped grid laid over every possible colour: red along one edge, green along another, blue along the third. At each point of the grid, the file stores the colour that input should become. A 33-point LUT has 33 × 33 × 33 = 35,937 entries; a 65-point LUT has 274,625. That sounds like a lot, but a 10-bit video can contain over a billion colours, so nearly every pixel falls between grid points and its new colour has to be worked out from the neighbours.
Trilinear interpolation blends the eight corners of the little cube a colour falls in. Tetrahedral interpolation first splits that cube into six tetrahedra, finds the one containing the colour and blends just its four corners. The tetrahedral split keeps the diagonal from black to white exact, so greys stay grey, and it avoids the slight hue shifts trilinear blending can add around strong colours. It costs almost nothing extra on a graphics chip, which is why it is the better default.
A 1D LUT is three separate curves, one per channel. It can change contrast, gamma or overall tint but cannot move one hue without moving others, which is why looks are almost always 3D. The .cube format is plain text with a size header and rows of decimal numbers between 0 and 1. The .3dl format stores whole numbers instead and lists its grid positions on the first line. Both open here, so use whichever your source provides.
Every LUT is built for a particular kind of input. A conversion LUT for Sony S-Log3 expects S-Log3 pixels; feed it ordinary phone footage and the result is harsh and over-saturated. A creative LUT is usually designed for standard Rec.709 video; feed it log footage and the look sits on a flat, grey base and never comes alive. Placement follows from that.
The Vectorscope and Parade above the tabs are the quickest way to see what a LUT has done: a good conversion LUT on correctly exposed footage leaves neutral objects with level channels and faces near the skin tone line.
A lookup table: a file that maps each input colour to an output colour. Editors use them to convert log footage to normal video, to share a look between apps and to keep several clips consistent. Grading tools then interpolate between the stored points for every pixel.
Open this page in Safari or Chrome on the phone, choose Select video, then Import LUT and pick the .cube or .3dl from Files or your downloads folder. Everything runs on the phone, so long 4K clips take longer than on a computer.
Both. The tool reads 3D .cube files from 2 to 65 points, 1D .cube files and .3dl files. .cube is the more common format today, and it is what Export .cube saves when you turn your own grade into a LUT.
A filter in a phone app is often a LUT underneath, sometimes with grain or a vignette added. The difference is portability: a LUT is a standard file that DaVinci Resolve, Premiere, CapCut desktop and many other apps can read, whereas a filter usually only exists inside its own app.
Yes. LUT intensity blends from the original picture at 0% to the full LUT at 100%. It is the quickest fix for a look that is close but too heavy.
It is never uploaded. To let a page reload restore your work, the imported LUT is kept in this browser’s own storage for the editor, alongside the open video. Clearing the site’s data removes it.
Usually because the editor converts colour before the LUT runs, for example through Premiere’s colour management or a Resolve node earlier in the chain, or because it uses trilinear interpolation. Make sure both apps feed the LUT the same kind of input.