Fun for the whole family
Canon R Series LUTs
Sensor-matched LUTs for Canon R series bodies shooting C-Log 2 or 3, including the R5, R5 Mark II, R5 C, R50 V, R6, R6 Mark II, R6 Mark III, R7, R8, and R3. If it’s an R body, chances are I've shot and sampled it.
R3
R5
R5 Mark II
R5 C
R50 V
R6
R6 Mark II
R6 Mark III
R7
R8
Shooting on a Cinema camera like the C70 or C300? You want the Canon C Series LUTs instead.
Your Sensor Isn't Generic
So why settle for a generic LUT?
Canon's color science has a deserved reputation: skin tones straight out of an R body are some of the most flattering in the business. Which is exactly what a generic "LOG to REC709" LUT puts at risk. Drop one on R series footage and you'll usually get some combination of clipped highlights, crushed blacks, or skin pushed outside that famously pleasant Canon realm. So my priority was simple: don't touch what people love about this image. The Arch Pro conversion protects those skin tones and focuses its work where the R series actually leaves room for enhancement: in the blue and green channels.
“I wasn’t chasing a trendy grade. I just wanted the little camera to match the big stuff.”
Here's the thing chart-matching the whole R family taught me: the sensors are all different, even when Canon says they're the same. Identical sensor on the spec sheet, different processing in the pipeline, subtly different color on the other end… the kind of subtle that destroys your afternoon if you're a perfectionist. So every camera body got measured the way all Arch Pro LUTs are made: the same lens, shooting the same color checker chart, matched against high-end cinema reference in DaVinci Resolve until the little cameras agreed with the big ones. What you get is accurate color, believable skin, and the full dynamic range your profile was designed to capture. From there, it's your grade.
Grab One or Grab Them All
Pick your camera (or a series bundle) and choose your tier. One system, every camera.
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Twelve Looks, Infinite Possibilities
Move from video to film
Plus and Premium include twelve Film Looks, each one a standard REC709 LUT that stacks after the Arch Pro conversion. Because the look and the conversion are separate, you dial in exactly as much character as you want using the mix controls already in your NLE. 100% strength is simply a starting point, not a sentence.
Grading in DaVinci Wide Gamut?
Premium includes LOG to DaVinci Wide Gamut conversions plus all twelve Film Looks in DWG: built for color-managed workflows. You get the same sensor-matched color science, with the freedom to build your corrections before or after the conversion node, wherever your pipeline wants them.
Obligatory FAQ Section
