Wedding Videography LUTs for Every Light on the Wedding Day

If you edit wedding films, you already know the moment: the ceremony was shot under warm church tungsten, the portraits an hour later in golden sun, and the reception under purple LED uplighting. The couple is the same person in every clip. Their skin should look like it.

A LUT does not know which light it is looking at. It moves every pixel by the same rule. That is why one look for the whole film breaks on a wedding day. We measured it on a single colour. Take tungsten-lit skin, #D98C55. Run a warm golden-hour look over it and it becomes #FF984C: the red channel hits its ceiling and clips. On screen that is orange vows, in the one part of the film the couple will rewatch most. Put the same skin through a look built for church tungsten, Church Tungsten Correct, and it becomes #CC9B75: cooler and closer to real skin.

The LED problem runs the other way. A reception wall lit at #8A4FC8 is loud enough to tint every face near it. Reception LED Tame pulls it to #8254A9, calmer, without turning the room grey.

So the pack is built around the light sources on a wedding day, not around moods. There are 22 .cube LUTs. Twenty follow the day in order: Getting Ready Window, Hotel Tungsten Fix, Church Tungsten Correct, Fluorescent Green Cut for registry offices, Noon Ceremony Tame for hard midday sun, Overcast Warm Lift, Open Shade Skin, Golden Hour Warm, Blue Hour Cool, Beach Pastel Bright, Garden Greens Soft, Reception LED Tame, Candlelit Dinner, Dance Floor Punch and First Dance Moody. Then there are looks for the whole film: Skin-Safe Neutral, Clean Commercial, Matte Film Fade, Warm Film Stock and Teal Shadow Cinematic. The last two are black-and-white: Classic Black & White for vows and speeches, Soft Matte Mono for details and slow motion.

Each look also comes as an .xmp Lightroom preset, so your stills can match the film. That is 44 files in one zip. One honest limit: the .xmp carries exposure, contrast, saturation, temperature and tint. The lift, gamma and gain curves live only in the .cube, so looks built on them, such as Matte Film Fade, are lighter in Lightroom.

Before anything else, check your input colour space. These LUTs expect Rec.709. If you shoot S-Log3, C-Log3, V-Log or N-Log, apply your camera maker's Log-to-Rec.709 conversion LUT or a colour space transform first, then the look. On raw Log footage the colours will be completely wrong, and that is the most common reason a LUT looks broken.

Installing takes a minute. In Premiere Pro, open Lumetri Color, then Creative, then Look, then Browse. In DaVinci Resolve, copy the .cube files into the LUT folder and right-click the LUT browser on the Color page to Refresh. In Photoshop, add a Color Lookup adjustment layer and load the 3D LUT file. Menu names change between versions and UI languages, so look for those words rather than an exact path. A good working habit: put the look on an adjustment layer at 60 to 100 percent opacity and fix exposure and white balance per clip underneath.

You can test every look before paying. The free page takes a frame grab from your own footage, shows it next to the original with any of the 22 looks, and lets you save the graded still as a PNG. Your frame never leaves the page; the grade runs in your browser. Church Tungsten Correct is also a free .cube download you can drop into your editor today.

For a yardstick, LUT Co sells its Wedding LUT Pack for $49.00 with 5 LUTs. This pack is 22, one per light you will meet between the hotel room and the last dance.