KUBIK
for Grading and Monitoring
Essential Looks for Everybody
Get the Most out of your Footage with Professionally Designed Looks
Three Looks for Every Project
YouTube, Documentary, Feature-Film. You name it.
Rec.709
All Rec.709 images you see have been transformed to Rec.709 using DaVinci Resolve’s Colour Space Transform.
The underlying colour grading is the same across all shots. The only difference is the LUT.
KUBIK 0815
The “No-Makeup Makeup” of LUTs. It provides an “enhanced reality” look with natural but vibrant colours and medium contrast.
The tone curve adds slight punch to the mid-range for increased legibility and well-sculpted facial features while keeping the highlight and shadow roll-off gentle for maximum dynamic range.
Saturation is slightly compressed, with vibrant colours that add “pop” without getting garish.
It features a subtle “secret split tone” that adds depth and colour separation while keeping neutrals intact.
Well suited for documentary or commercial projects without drawing attention to the look, or as a starting point for further manual tweaks.
KUBIK PACIFIC
Inspired by classic Japanese film stocks, this LUT entices the viewer with especially delicate skin tones, rich foliage and a soft colour palette with medium contrast.
It features a unique three-way split tone, with a greenish-cyan shadow tint, warm mid-tones and highlights and slightly cooler white point.
The film-like compression of the skin tones makes it easy to keep faces in the sweet spot no matter how challenging the lighting conditions.
With its modern but nostalgic feel, it’s well suited for narrative projects or commercials that can afford a little something.
KUBIK KINO
This high-contrast LUT is not trying to be subtle. KINO is a bold, uncompromising classic cinematic look inspired by KODAK’s 2383 print film.
The tone curve is strong and punchy, sculpting facial features, adding crunch to the shadows and zing to the highlights.
It features a strong split tone with rich, deep blue shadows and warm highlights.
The preferential colour palette draws the viewer into your story with warm amber yellows, aquatic blues and dense, thick subtractive saturation.
Perfectly suited for those larger-than-life types of story.
KUBIK will never fail. Ever.
Designed by Professional Colourists with Cutting-Edge Technology.
Unbreakable LUT Design
The KOLOR DRT employs our own high-end colour science to make sure your image never breaks. No matter how extreme the footage.
If you’ve ever shot a concert, a club scene, or anything with bright neon lights in the scene, you know what we mean.
With bad DRTs (even DaVinci Resolve’s colour management), bright, high purity lights often look terrible and cognitively dissonant: What was blindingly bright on scene suddenly looks like a dark, digital blob of colour.
Film famously handles this well: Think Star Wars light sabres.
Our DRT, like all good rendering transforms you’ll see used on Hollywood blockbusters, comes with rock-solid purity compression – or a proper “path to white”.
This means your footage never breaks. Instead of the tedious fixing of problems created by bad LUTs or CSTs, colour grading becomes about enhancing the creative vision and shaping the aesthetic of your project.
Info: The Rec.709 images in our comparison are created using DaVinci Resolve’s Colour Space Transform.
Supported Cameras and Colour Spaces
We support all commonly used colour spaces.
| KOLOR | KOLOR Default |
| ACES | ACEScct |
| Apple | Apple Log |
| Apple Log 2 |
| ARRI | LogC3 |
| LogC4 |
| BlackMagic Design | Film Gen 5 |
| DaVinci Intermediate |
| Canon | C-Log |
| C-Log 2 | |
| C-Log 3 |
| DJI | D-Log |
| D-Log 2 | |
| D-Log M |
| FujiFilm | F-Log |
| F-Log 2 | |
| F-Log 2 C |
| GoPro | GP-Log |
| GP-Log 2 |
| Insta | I-Log |
| Leica | L-Log |
| Linear | Linear |
| Nikon | N-Log |
| Panasonic | V-Log |
| Phantom | Phantom Log 1 |
| Phantom Log 2 |
| RED | Log3G10 |
| Samsung | Samsung Log |
| Sony | S-Log 2 |
| S-Log 3 |
| Display Spaces | Gamma 2.2 (sRGB) |
| Gamma 2.4 (Rec.709) | |
| Gamma 2.6 |
KUBIK Free vs. Premium
What’s the difference?
KUBIK FREE (17x17x17)
KUBIK PREMIUM (65x65x65)
LUT Size Explained
LUTs are tables that store input and output colour values. A typical LUT is a 3D-LUT, which means it has three dimensions: Red, Green and Blue.
Since LUTs store input and output values, they have a finite number of values. Common LUT sizes are 17x17x17, 33x33x33 or 65x65x65. These sizes tell you how many values are stored per dimension.
The more data points a LUT has, the smoother are the gradients it produces. You can think of it as “resolution”. A high-resolution LUT will produce a smoother, more refined image compared to a low-resolution LUT.
In theory, there is no limit to LUT sizes, but 65-point LUTs are sufficient for high-end workflows.
Elevate your Colour Grading today
Download KUBIK
for Grading and Monitoring
Free Version
- ✔
- 516 LUTs in .cube format
- ✔
- LUTs for On-Camera-Monitoring
- ✔
- LUTs for Grading in Final Cut Pro, DaVinci Resolve and other applications
- ✔
- LUTs for ETTR and Neutral Exposure
- ❌
- Limited Precision:
→ 17-Point LUTs for Monitoring
→ 33-Point LUTs for Grading
0 €
Full Version
- ✔
- 768 LUTs in .cube format
- ✔
- LUTs for On-Camera-Monitoring
- ✔
- LUTs for Grading in Final Cut Pro, DaVinci Resolve and other applications
- ✔
- LUTs for ETTR and Neutral Exposure
- ✅
- Production-Ready Precision:
→ 17- and 33-Point LUTs for Monitoring
→ 65-Point LUTs for Grading
Business License
- ✔
- Same features as the Full Version
- ⚠️
- Businesses need to purchase as many copies as they need. One copy per person.
per seat
Any Questions?
Frequently asked questions about our KUBIK LUTs
Eric Lenz, the original creator of Cam2Rec is the co-founder of KOLOR. In August 2026, Cam2Rec has been discontinued. KUBIK 0815 is the direct replacement for Cam2Rec whereas PACIFIC and KINO offer even more variety.
ETTR stands for “Expose to the right” which refers to a deliberate overexposure of your footage to suppress camera noise.
KUBIK’s offset is -1.5 EV forcing you to overexpose your footage by 1.5 stops. If you’re using KUBIK as a monitoring LUT on-camera, adjust exposure so the final image looks as intended. The exposure offset will be applied to the log-footage anyway. Please see our on-camera exposure tutorial for more information.
Yes. KUBIK comes with grading LUTs designed for DaVinci Intermediate / DaVinci Wide Gamut, too.
Yes, KUBIK is designed to be used in Final Cut Pro in tandem with our Colour Space Transform. The LUTs for Final Cut Pro are designed for KOLOR default and replace a CST going to Rec.709.
Yes, KUBIK includes grading LUTs for any camera colour space so you can transform your footage directly using KUBIK. However, we do not recommend using Premiere Pro for any colour-critical work in this day and age.
Sure thing. KUBIK grading LUTs come for all camera colour spaces and even Rec.709 or sRGB.
The KOLOR Colour Space Transform provides a neutral starting point when transforming your material for display.
KUBIK is a set of looks that you can use instead of the Colour Space Transform to transform your footage for display.
Release Notes
Information about Updates, Releases and Patches
Initial release of KUBIK 0815, PACIFIC and KINO includes
- on-camera monitoring LUTs
- LUTs for grading in DaVinci Resolve
- LUTs for grading in Final Cut Pro with KOLOR Default
- LUTs for grading in Premiere Pro and other applications
