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This pack contains technical LUTs for transforming Insta360 I-Log footage to Rec. 709 with enhanced color accuracy.
What’s Included:
In this pack, you’ll find separate folders for different cameras. These each have specific tweaks to achieve the best color accuracy for their respective sensors. There's also a folder called General Purpose, which works well on cameras I haven't yet customized. But because each sensor does have minor color variations, I’ll continue to create camera-specific LUTs and will send those out to customers of this pack as a free upgrade when they’re complete. In the meantime, for other Insta360 cameras using 10-bit L-Log and BT.2020, simply use the General Purpose LUTs, which will still provide accurate, neutral color.
Contains:
General Purpose
Luna Ultra
File Names Explained:
- I-Log Undone 65: Accurate, fully saturated color with a custom curve to give a finished look with one step. Use in post-production.
- I-Log Undone LC 65: Accurate neutral color with no changes to curve. Better for high contrast scenes. LC = Low Contrast. Use in post and add contrast to taste.
- I-Log Undone 33 (Monitoring): Same as 65, but compatible for loading into a camera or monitor.
- 1.0x or 3.0x: Magnification or zoom level. This is for cameras like the Luna Ultra that offer different lenses with slight color variations.
Exposure & Tips:
Expose neutrally. These LUTs are built on correct exposure principles from Insta360’s whitepapers, which state that 18% gray should be exposed to 42% (10-bit code value of 432) for I-Log. This also matches the in-camera view assist and exposure tools, so you can rely on them as well.
*Exception for the Luna Ultra, in some scenarios the in-camera metering can sometimes overexpose and you might get better results by setting the camera to -0.3 EV. Matrix mode performs better than Face-Priority for hitting middle gray correctly.
If you're applying the LUT to over or underexposed footage, it's recommended that you adjust the exposure in an earlier step in your color workflow before applying the LUT. In DaVinci Resolve for instance, this would mean putting an exposure adjustment node before the LUT node.
It's good practice to place this LUT near the end of your color pipeline. This will make adjustments to exposure, white balance, saturation, and other parameters more consistent and allow you to recover more information when compared to attempting to adjust those things after the LUT is applied.
This pack contains technical LUTs for transforming Insta360 I-Log footage to Rec. 709 with enhanced color accuracy.
What’s Included:
In this pack, you’ll find separate folders for different cameras. These each have specific tweaks to achieve the best color accuracy for their respective sensors. There's also a folder called General Purpose, which works well on cameras I haven't yet customized. But because each sensor does have minor color variations, I’ll continue to create camera-specific LUTs and will send those out to customers of this pack as a free upgrade when they’re complete. In the meantime, for other Insta360 cameras using 10-bit L-Log and BT.2020, simply use the General Purpose LUTs, which will still provide accurate, neutral color.
Contains:
General Purpose
Luna Ultra
File Names Explained:
- I-Log Undone 65: Accurate, fully saturated color with a custom curve to give a finished look with one step. Use in post-production.
- I-Log Undone LC 65: Accurate neutral color with no changes to curve. Better for high contrast scenes. LC = Low Contrast. Use in post and add contrast to taste.
- I-Log Undone 33 (Monitoring): Same as 65, but compatible for loading into a camera or monitor.
- 1.0x or 3.0x: Magnification or zoom level. This is for cameras like the Luna Ultra that offer different lenses with slight color variations.
Exposure & Tips:
Expose neutrally. These LUTs are built on correct exposure principles from Insta360’s whitepapers, which state that 18% gray should be exposed to 42% (10-bit code value of 432) for I-Log. This also matches the in-camera view assist and exposure tools, so you can rely on them as well.
*Exception for the Luna Ultra, in some scenarios the in-camera metering can sometimes overexpose and you might get better results by setting the camera to -0.3 EV. Matrix mode performs better than Face-Priority for hitting middle gray correctly.
If you're applying the LUT to over or underexposed footage, it's recommended that you adjust the exposure in an earlier step in your color workflow before applying the LUT. In DaVinci Resolve for instance, this would mean putting an exposure adjustment node before the LUT node.
It's good practice to place this LUT near the end of your color pipeline. This will make adjustments to exposure, white balance, saturation, and other parameters more consistent and allow you to recover more information when compared to attempting to adjust those things after the LUT is applied.