Phantom LUTs
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Explore sample frames from filmakers who color grade using Phantom LUTs

Fantastic interview set up here by @tomxshaw shot on two @sonycine Fx6's and graded with the ARRI Utopia LUT. I love the depth Tom was able to create here in the background and the beautiful way the greens and timber tones play off eachother. It's
Hi Fuji family, F-Log2C support is now available for all existing F-Log2 users, and good news - it’s a free update! I remain committed to offering free updates when I’m able and when it is suitable to do so, and will always be on the lo
Some stunning shots here of a solar farm at sunrise shot with the @djiglobal Mavic 3 Pro shot by @thepurposedenthusiast graded with the Arri Neutral LUT. I just got my Mavic 4 (LUTs coming soon) - can't wait to see what it can do! Also, just a note
Lovely frames here from @derrickmanieca shot on a camera + lens combo close to my heart: His @sonycine A7siii + Canon FD combo graded with the Utopia LUT. It's crazy to think the game changing A7s3 came out in 2020 - 5 years ago now - how time flie
Have you seen our new iPhone 15/16 Pro Showcase video yet? Link in the bio. I'm so excited to finally be able to share these frames from the vid with you. I teased this showcase video in the initial release video for the iPhone 15 LUTs but it just t
Merry Christmas all! I sincerely hope you all had a fantastic 2024 and wish you all the best for the start of 2025! I'm sharing frames from a recent project shot and directed by @flo.nick using his @sonycine Fx6 paired with @sigmaphoto Primes + Blac
iPhone 15 Pro + Vision Teal Legacy. These are some frames from a showcase I’ve been working on to show what the iPhone 15/16 can do. Looking forward to showing you all the video soon!
All shot on his @sonycine A7Siii, @joshua_farrer proves there's still life in this nearly 5 year old camera yet. For me at least, it really was the beginning of the new era we now find ourselves in; the era of Sony-Dominance - at least for the pros
It's exactly scenes like this where the Film LUTs are my go to versus the ARRI LUTs; scenes which inherently evoke a certain emotional and aesthetic impact allowing us to lean into the larger-than-life look of photochemical film with it's bold contra
@joshua_farrer knocked it out of the park with his recent short film that he released on his YouTube channel. Despite his YT channel having less than 5k subscribers, the short has so far garnered (to date) 34k+ views and for good reason - it's reall
I shot this recently for the upcoming iPhone 15 showcase video. Graded with the Neutral LUT. Do I think the iPhone will ever replace a cinema camera? No. Is it a tool that many people don't yet realise the full utility of? Yes for sure. Let me kn
Shot on iPhone 15. Our home movies will never look the same. Graded with the Arri Neutral LUT.
@tomxshaw had an amazing opportunity to put the new Sony Burano LUTs to the test over at Warner Bros Studios for Cine Gear Expo. Looks fantastic! Graded with the Utopia LUT Shot on his Sony Burano using @2ndreef 50mm T2.9 1.5x Coral Anamorphic lens
Bold grade here from @__instagraham___ using the Eastman RM Film LUT Shot on FX3 using Rokinon Cine 24mm T1.9 Auto Focus and 35mm t1.5 Lenses #sonycine #fx3 #rokinon #colourgrade #luts
Introducing Phantom LUTs for the Sony Burano. They have been packaged with the Fx9 LUT Packs so good news if you're a current Fx9 user and you plan to shoot on a Burano soon! Use the code "BURANO" for 20% off for the remainder of July.
@amon_is_shaw with some beautiful frames from a recent clothing commercial he shot in Madeira, Portugal. Shot on the A7SIII using Sony 16-35mm f/2.8 and 24-79mm f/4 lenses. Graded with the ARRI Utopia LUT #sonycine #sonyA7SIII #sonypro #colorgrade
Another great entry from @goodtime.filmstudio with this music video shot on the @sonycine FX3 and FX6 using @siruiimaging Saturn anamorphic lenses. Graded using the ARRI Tungsten LUT. #sonycine #sonyFX6 #sonyfx3 #sonypro #colorgrade #LUTs
Phantom LUTs for Osmo Pocket 3 are here! Use code 'osmo' to get 20% off the Osmo3 LUTs until the end of this month. Next stop - Sony Burano!
Some lovely work here from @goodtime.filmstudio 🥃 Shot on @Sonycine #FX3 and Graded with the ARRI Neutral LUT #jeffreydeanmorgan #hilarieburton #sonyfx3 #sonycine #sonypro#sonycineline #colorgrade #colorist #cinema #cinemacamera #cinelens #slog3 #
@justxx91 with some beautiful work on his @eos_canonjp R5C from Tokyo City, Japan 🇯🇵 Lenses: @sigma_japan Art 35mm and 85mm Graded with: Phantom LUTs - Vision #canon #eos #R5C #sigma #sigmaart #sigmaart35mm #sigmaart85mm #tokyo #japan #LUTs #vis
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“To me, the gold standard for colour science is still to be found in the ARRI Digital Camera family. So using my own ARRI Alexa as a benchmark, I developed a LUT that reverse engineers the colour science of the Alexa709 LUT, which I’ve always found to look filmic and natural straight out of camera. The result is my ‘Phantom Neutral LUT.”

- Joel Famularo (Creator of Phantom LUTs)

Unlock the Full Potential of Your Cameras Color Science

Phantom LUTS

Frequently Asked Questions

  • Phantom LUTs are compatible with all editing software that supports the use of .cube LUT files. This includes software on Mac, PC and Tablet/Mobile apps.

    Compatible Editors Include:

    • Davinci Resolve Studio (All Versions)

    • Adobe Premiere Pro (All versions)

    • Final Cut Pro (All Versions)

    • CapCut

    • LumaFusion

    • Capture One

    • Kinemaster

    • Avid Media Composer

    • Sony Vegas

    If your software can load a .cube file, then it is compatible! If you are still unsure, send us an email at hello@joelfamularo.com

  • Once you have selected your supported camera and made your purchase, you will immediately receive an email with a download link to your new LUTs.

    This link will remain active for you to download your LUTs at any time.

    Please ensure you have double checked your email address is correct before making your purchase.

  • Since Phantom LUTs first launched in 2018, Joel has been continuously refining each LUT based on his own personal daily shooting, and also based on feedback from the many users in our wide community of filmmakers.

    We know that the latest camera isn’t always the “best” camera, and so providing support for our existing range of LUTs is a big part of providing you with the best product we can, long after purchase.

    Based on this feedback, updates are sent out via email to everyone who’s purchased a LUT pack, so you’ll always be in the loop!

  • TLDR: 65x LUTs are high-resolution LUTs used for editing in post-production thanks to their high accuracy, while 33x LUTs are used in-camera and for external monitoring due to their compute efficiency and smaller resolution.

    65x LUTs are high-quality LUTs that provide a more accurate and precise colour transformation than a standard LUT. They achieve this higher level of colour accuracy by offering more colour values per channel than a standard LUT. Due to their high resolution, 65x LUTs are typically used for colour grading in the NLE of your choice and are, as such, our recommended LUTs for editing (with NLE interpolation set to Tetrahedral).

    33x LUTs are still perfectly suitable for editing, though they contain less colour information than their 65x counterparts. Due to their smaller size, 33x LUTs are more efficient and are intended for monitoring, as they often meet the size and computational restrictions for viewing LUTs in-camera or on a monitor. 33x LUTs may be used in certain circumstances (such as live streaming or online media), but due to their simpler construction, they can sometimes lead to image artefacts and are generally not recommended to be baked into footage unless in these specific circumstances.

  • Our recommended NLE (Non-Linear Editing) software for editing your footage is DaVinci Resolve due to its advanced Colour Management capabilities. Whatever your editing software may be, ensure your Colour Space is set to Rec.709, as this is what your LUT will be expecting.

    DaVinci Resolve Colour Management Settings

    Navigate to Project settings > Color Management, and input the following settings:

    • Ensure your Color Science is set to: DaVinci YRGB

    • Set your Timeline Color Space to Rec.709-A for Mac users,  Rec.709 Gamma 2.4 for Windows users

    • Leave Output Color Space set to Same as Timeline

    • Lastly, ensure 3D lookup table Interpolation is set to Tetrahedral

    Adobe Premiere Pro Colour Management Settings

    Navigate to Project Settings > General, and set the following settings:

    • Under the Color Management section, set 3D LUT Interpolation to Tetrahedral

    Navigate to Sequence > Sequence Settings, and select the following settings:

    • In the Video section, ensure that Working Color Space is set to Rec. 709

    Ensure Premiere does not Automatically Detect Log Video Color Space:

    • Navigate to Preferences (or Settings) > General…

    • Then untick Auto Detect Log Video Color Space

    Lastly, ensure that Premiere has not automatically transformed each clip by double checking that Colour Space Override is set to Rec. 709:

    • Right click the clip and select Modify Clip

    • Under Interpret Footage set Color Space Override to Rec. 709

    Final Cut Pro Colour Management Settings

    Navigate to File > Library Properties, and click Modify

    • In Change the color processing setting for the library ensure Standard Gamut SDR is selected

    Once your LUT has been added, ensure that both input and output are set to Rec.709:

    • In the Custom LUT toolbar, set Input and Output to Rec.709

    Ensure that Automatic Color Conform is turned off:

    • Navigate to Settings…

    • In General next to HDR: untick Automatic Color Conform

  • Yes, they do!

    These LUTs will expect Log footage in the particular Log format associated with your camera and LUT pack. So when loading RAW Video into your NLE (Non-Linear Editor) ensure that you set the output to Log and also set the correct Colour Space (eg. S-Gamut3.Cine/Canon Cinema Gamut etc.)

Phantom LUTs