Cinematic LUTs Pack for Wedding Videographers — Rec.709, by lighting

You shot the whole wedding in Rec.709. iPhone, drone, a mirrorless body on the standard profile. Now you are at the edit, and the cinematic LUT you downloaded makes the bride's skin orange and the groom's suit crushes into a black block.

Most cinematic LUTs sold as a pack are designed for Log input. A Log LUT expects flat, low-contrast footage and adds contrast and saturation to it. Apply it to Rec.709, which already has contrast and saturation baked in, and you add them twice. Blacks crush, skin oversaturates, the white dress clips.

The second problem is that a wedding is not one lighting condition. The ceremony is under warm tungsten in a church. The portraits are at golden hour, then blue hour. The reception is lit by purple or magenta uplights that spill onto every face. One look cannot fix all of that.

This pack is built around those two facts. Every look expects Rec.709 or Gamma 2.4 footage and outputs Rec.709. And every look is named for the lighting it corrects: Church Tungsten Fix, Reception LED Fix, Overcast Lift, Open Shade Skin, Midday Sun Tame, Blue Hour Dusk, Sparkler Exit Night, and 15 more. There are 22 in total, each delivered as a .cube LUT for Premiere Pro, DaVinci Resolve and Photoshop, and as a Lightroom .xmp preset for stills.

What does a look actually do to a face? We measured it on the same math that writes the files. Take a warm skin tone under church tungsten, stored as red 0.50, green 0.42, blue 0.36. Church Tungsten Fix moves it to 0.43, 0.41, 0.42: the orange cast drops out and the tone lands close to neutral. Classic BW Contrast takes the same pixel to an even 0.39 grey. Pastel Bright lifts the blacks so a pure shadow sits at about 0.23 instead of 0.10. All 22 give a different result on that pixel.

Every .cube file is a 17 by 17 by 17 grid, which is 4,913 rows of color values, all inside the 0 to 1 range, so no host program has to throw anything away. The whole zip, with the 22 LUTs, the 22 presets and an install sheet, is 45 files.

Before you pay anything, you can see all of this on your own footage. Open the free page, load a frame from your last wedding, and drag the split line between the original and any look. The page applies the look in your browser; the frame is never uploaded. Save the graded still as a PNG and send it to the couple for approval before you render a minute of the film.

What you cannot do in a browser is grade a timeline. A 40-minute film needs the .cube inside your editor, applied per scene, with the intensity dialed per clip. That is what the full pack is for.

Install takes three steps. In Premiere Pro, open Lumetri Color, then Creative, then Look, then Browse, and pick the .cube. In DaVinci Resolve, copy the cube folder into the LUT folder, then on the Color page right-click the LUT list and choose Refresh. In Photoshop, add a Color Lookup adjustment layer and load the 3D LUT file. Menu names differ by version and interface language.

One warning, because it causes most bad results with any LUT: if you shot S-Log, V-Log, C-Log, F-Log or Apple Log, convert to Rec.709 first with your camera maker's technical LUT or a Color Space Transform. Then apply the look on top.

For a sense of the alternatives, checked on 23 September 2026: a Fiverr wedding colorist gig starts at $165 per film, LUT Co sells a five-LUT wedding pack for $49, and Cinegrams sells ten Rec.709 wedding LUTs at $29.99 regular. Grade one test clip per lighting condition from your last wedding, note which look fits each venue, and you have a starting point for every booking after it.