Cam2Rec

Solid LUTs for Colour Space Transformation for (almost) every Camera to Rec.709

Why Cam2Rec?

Manufacturer LUTs don’t cut it

Most camera manufacturers’ Rec.709 conversion LUTs bake in their own color science—often leading to unnatural skin tones (e.g. Sony), crushed highlights (e.g. Nikon), or a look that’s hard to tweak.
Cam2Rec delivers an aesthetic, clean starting point so you have full creative control.

Beyond DaVinci Resolve

DaVinci Resolve’s built-in color space transformation is powerful, but it doesn’t support every gamma and gamut combination.
Thanks to Thatcher Freeman, I’m able to fill in the gaps.

My Knowledge at your Fingertips

Conversions aren’t just about math—they’re about aesthetics. Cam2Rec LUTs are designed with some of my personal preferences to deliver outstanding image integrity and giving you a solid foundation for your grade.

Extreme Colour Science

Ever filmed against neon sign or had a tungsten practical light in your shot? Extreme scenarios can look extremely fake – extremely fast.
Cam2Rec makes sure everything looks neutral, no matter what you shoot or how hard you push your colour grade underneath.

Supported Cameras

And even more with every update

Apple

Apple Log
Apple Log 2

ARRI

LogC3 ARRI Wide Gamut 3
LogC4 ARRI Wide Gamut 4

BlackMagic Design

Film Gen 4 DaVinci Wide Gamut
Film Gen 5 DaVinci Wide Gamut

Canon

C-Log
- BT709
- BT2020
- Canon Cinema Gamut
C-Log 2
- BT709
- BT2020
- Canon Cinema Gamut
C-Log 3
- BT709
- BT2020
- Canon Cinema Gamut

DJI

Action 5 D-Log M
Air 25 D-Log M
Mavic 2 Pro D-Log M
Mavic 3 Pro Cine D-Log
Mavic 3 Pro D-Log M
Mini 4 Pro D-Log M
Phantom P4 D-Log
Osmo Pocket 3 D-Log M

Fujifilm

F-Log BT.2020
F-Log 2 BT.2020
F-Log 2 C F-Gamut C

GoPro

Log
Pro Tune Native

Leica

L-Log
- BT709
- BT2020

Nikon

N-Log BT2020

Olympus/OM-Systems

Flat BT709
OM-Log 400
- BT2020
- P3-D65

Panasonic

V-Log V-Gamut

Phantom

Phantom Log 1
Phantom Log 2

RED

Log3G10 RED Wide Gamut

Sony

HLG (1/2/3) BT2020
S-Log
- S-Gamut
- S-Gamut3
- S-Gamut3.Cine
S-Log 2
- S-Gamut
- S-Gamut3
- S-Gamut3.Cine
S-Log 3
- S-Gamut
- S-Gamut3
- S-Gamut3.Cine

Z-Cam

Z-Log 2

ETTR Built-In (if you want)

Starting with Gen 5.1, I include LUTs for ETTR.

The exposure offset is -0.66 EV (plus minus a couple percent on your camera). This means the LUT requires you to overexpose by two thirds of a stop.

Load the ETTR LUT onto your camera to preview your image correctly. Use the ETTR LUT in post ant you don’t have to touch exposure if you don’t want to.

Acknowledgements

Thatcher Freeman

Many thanks to Thatcher Freeman for letting me use his Input Device Transformations (IDT) for DaVinci Resolve.
He has done a tremendous job to add support for cameras that have not (yet) been supported by DaVinci Resolve itself.

Thatcher’s IDT’s on GitHub →
Thatcher’s “Buy Me A Coffee” →

Max from Iridescent Color

Many thanks to Max from Iridescent Color for creating powerful tools with super solid colour science. I use his tools for pretty much everything I do.
And also, Max, thank you for being my personal colour science consultant from time to time!

Iridescent Color →