About FestivalLuts

What is actually here

Counted from the site's own listings, on this page load:

• 35 LUT pages, each holding one .cube file. Browse them at /browse.
• 15 written Academy pages, which are not about the catalogue at all — see below.
• About 2,000 downloads of those 35 LUTs so far.

Every LUT in the catalogue is a .cube for video. The catalogue is sorted into seven categories by what a look does rather than by which festival it was shot at — Neon & Vibrant, Warm & Golden, Dark & Moody, Clean & Natural, Cold & Desaturated, Film Emulation, and Log → Rec.709 Conversion for the technical transforms that simply normalise a log clip rather than putting a look on it.

Signed-in creators can upload their own looks too. Each upload keeps its creator's name on its page and links to their profile.

LUTs here are measured, not described

The usual way to write a LUT page is to reach for adjectives: cinematic, punchy, moody. Those words cost nothing to write, are true of almost any file, and tell you nothing about the one you are about to download.

So every LUT page on this site reports measurements taken from that exact file instead. A 21-step neutral ramp and nine saturated probes are pushed through the lattice, and what comes out the other side is compared with what went in. Each page then prints:

Lattice

How many points the LUT actually contains, read from the file's own header.

Midtone contrast

How steep the ramp is between 35% and 65% input, as a multiple of the slope it went in at — so +0% is unchanged. That band is where an S-curve does its work, and where the difference between a look and a technical conversion shows up first.

Saturation

The mean change in distance from the grey axis across the primaries and secondaries.

Black point and mid grey

Where 0% and 50% input land on the way out, in IRE — the numbers that answer "will this sit darker or brighter on my footage".

Neutral cast

Which way a grey input leans at three heights: shadow, midtone, highlight. Heights that stay neutral are not listed, because naming them is three words for nothing said.

Highlight clipping

Whether any probe comes back with a channel pinned at 100%. On a stage full of lasers and LED walls, that is the whole ball game.

Rec.709 luma throughout, using the same coefficients as the previewer on the page, so the numbers describe the image you are looking at in the slider rather than some other one. Every page states which measurements it took at the bottom and links back to this section for what they mean, so you can disagree with the interpretation and still trust the number.

This is deliberately conservative. There is no CIELAB, no appearance model, and no claim about how a look "feels" — only plain measurements with obvious definitions. And when a file cannot be measured, the page leaves the section out entirely rather than printing "unknown" four times.

A live example: Mainstage Laser Storm carries the full set, including the warning that it clips a channel on a saturated highlight.

Try it on your own frame — it never leaves your browser

Every LUT page carries a previewer that applies the real .cube on the GPU. It is not a thumbnail someone baked once; it is the file you are about to download, running on the image in front of you.

You can drop in one of your own stills instead of the reference frames. That picture stays on your machine. It is read straight into a WebGL texture in the page — there is no upload endpoint for it, nothing is written to a server, and nothing is stored. Which also means there is nothing for us to moderate, and nothing to leak.

If you shot log, tell the previewer which format and it normalises the frame first. The transform library the site ships covers eight: Sony S-Log3, Canon C-Log3, Panasonic V-Log, ARRI LogC3, RED Log3G10, Apple Log, Blackmagic Film Gen5 and DJI D-Log M. It is ordinary JavaScript served to your browser, so it can be read.

The Academy

The Academy is fifteen written pages, and it is not marketing for the catalogue. It covers the part people get wrong before a LUT is involved, in the order the work happens: expose, convert, then apply a look.

• Exposing log — one page each for Sony S-Log3, Canon C-Log3, Apple Log on an iPhone, and RED Log3G10.
• Converting — what a log → Rec.709 conversion actually does, and why the node order follows from that rather than from habit.
• Applying — where a .cube goes in Resolve, Premiere and Final Cut; what lattice size (17, 33 or 65) does and does not buy you; what a festival preset changes; and how to upload and optimise your own.
• Festival-specific problems — stage lasers and LED walls clipping, and a Sony Cinema Line section covering FX3 against FX5 for low-light event work.

The Academy index also carries a section called "What is deliberately not here", listing pages that have not been written and the reason. Two conversion LUTs are withheld pending a cross-check in Resolve. There is no CapCut page until its .cube import on mobile is verified in the app itself, because sources contradict each other and a page promising an import path your build does not have is worse than no page. Claims get withdrawn here as well as added — one guide was taken down and redirected in August after it turned out to teach a backwards node order.

Where a downloaded file goes

Each application has its own page here with the full install path, rather than one generic paragraph repeated five times:

Lightroom is the odd one out: it will not load a .cube directly, so using a LUT there means a one-time conversion to a camera profile. The Lightroom page walks through it.

CapCut is missing from that list on purpose. It stays off until its .cube support is confirmed in the app rather than in a forum post.

Uploading, and how moderation works

Downloading needs no account. Uploading does — sign in with Google, and your display name goes on everything you publish, next to a profile page collecting it.

• Accepted: .cube, .3dl, .look, .mga and .csp for video, and .xmp for Lightroom. Not .zip — an archive is a place to hide something that is not a LUT.
• Limits: 50 MB per file, and up to ten files in one pack.
• No approval queue. A file goes live the moment it passes validation and the word blocklist. There is no hidden review stage, and no setting that can create one — the branch that used to do it was deleted rather than switched off, after it sat quietly enabled with nobody working it.

Moderation is therefore reactive, and it is meant to be quick. Anything breaking the Terms of Service is removed along with its file; removing a pack removes every file in it, not just the one with the page. Accounts and IP addresses can be blocked. If something of yours was uploaded here without permission, write to [email protected] with the URL and it comes down — or use the report form; the procedure is set out in the terms.

What you may do with a download

Everything in the catalogue is free for personal and commercial work — client jobs, aftermovies, sponsored edits — unless the person who uploaded it says otherwise on its own page. Credit is appreciated and not required. The full wording is in the Terms of Service.

There is no paid tier, no email wall and no "free with attribution, £29 without". The site is funded by advertising, which is why there are ad slots on it. In the EEA, the UK and Switzerland the ad cookies stay off and Google Analytics does not load at all unless you accept them in Google's consent message; if that message is not shown to you, both simply stay off. Elsewhere both run with cookies under Google's defaults. If you have accepted, you can change your mind from the privacy page.

Studio & Publisher Transparency (Prioxy Studios)

FestivalLuts is a hobby project, built and maintained in the Netherlands by two people under the name Prioxy Studios. That is a project name, not a company: there is no registered business behind it, nobody is paid for this, and it is not run to make a living. Contact for anything on it is [email protected]; who is formally responsible is named on the privacy and terms pages. If it ever earns enough that registering a business is the right thing to do, it will be registered and this page will say so.

Our looks and .cube lattices are built for the conditions festival and concert work actually throws at a camera: bright moving-head fixtures, saturated LED walls, laser beams that land outside the gamut a sensor can hold, and a crowd two stops down from the stage. The log conversions are derived from the published transfer curves for Sony S-Log3, Canon C-Log3, Apple Log, RED Log3G10, Panasonic V-Log and ARRI LogC, and every .cube file passes automated format and lattice checks before it is published.

• Published under the name: Prioxy Studios, the Netherlands — a project name, not a registered company. The person formally responsible is named on /privacy and /terms.
• Based in: The Netherlands, European Union — which is the law that applies here
• Production Standards: Rec.709 display calibration, trilinear 3D lattice interpolation, gamut compression protection
• Direct Inquiries & Rights: [email protected] — read by the two people who run the site; expect a reply within a few days

Getting in touch

One address reaches everyone who works on the site — corrections included. If a number on a LUT page looks wrong to you, that is worth an email: the measurements are computed, so a disagreement is usually either a bug in the reader or something the page should be explaining better.

Email

[email protected] — questions, takedowns, corrections and business enquiries.

Elsewhere