If you’ve just downloaded your first LUT pack and opened DaVinci Resolve, the interface can feel overwhelming fast. This guide walks you through exactly how to apply LUTs in DaVinci Resolve — from importing the files to placing them correctly in your node tree. No filler, just the steps that actually matter.
What You Need Before You Start
- DaVinci Resolve 17 or later (free or Studio version both work)
- A .cube or .3dl LUT file — most cinematic LUT packs ship in .cube format
- Footage shot in a log or flat profile (S-Log2, S-Log3, C-Log3, BRAW, etc.) for best results
- A basic understanding of the Color page in DaVinci Resolve — you don’t need to be a colorist, but you need to know where the nodes are
Step 1: Import Your LUT Files into DaVinci Resolve
Before you can apply anything, Resolve needs to know where your LUTs are stored. There are two ways to do this.
Option A: Add a custom LUT folder
- Go to DaVinci Resolve → Preferences → General (on Mac) or File → Preferences → General (on Windows)
- Scroll down to LUTs and click Open LUT Folder
- Copy your .cube files into that folder
- Back in Preferences, click Update Lists
Option B: Use a custom path
- In the same Preferences panel, click the + icon next to the LUT folders list
- Point it to wherever you store your LUT packs on your drive
- Hit Update Lists and restart Resolve if needed
Once imported, your LUTs show up in the LUT browser on the Color page. You’ll see them organized by folder name — which is why keeping your LUT packs in labeled subfolders saves a lot of scrolling time.
Step 2: Set Up Your Node Tree Correctly
This is where most beginners make their first mistake: dropping a LUT on raw log footage without any correction, and wondering why it looks wrong. The order of your nodes matters enormously.
A solid starting structure for log footage looks like this:
| Node | Purpose |
|---|---|
| Node 1 | Input corrections — exposure, white balance, noise reduction |
| Node 2 | LUT applied here (conversion or creative) |
| Node 3 | Output refinements — contrast, saturation, skin tone tweaks |
Right-click on the node graph and select Add Node → Add Serial to build this chain. Keep it clean from the start — your future self will thank you.
Not sure whether you need a LUT or a PowerGrade for your workflow? Check out the PowerGrades vs LUTs breakdown — it covers exactly when to use which tool.
Step 3: Apply the LUT to a Node
Now the actual application. There are three methods — pick whichever fits your workflow.
Method A: Drag from the LUT Browser
- Open the LUT Browser (top-left panel on the Color page, or press Shift+L)
- Navigate to your LUT pack folder
- Click a LUT to preview it on your current clip
- Drag it directly onto the node you want to apply it to
Method B: Right-click a node
- Right-click the target node in your node graph
- Select LUTs from the context menu
- Browse to your LUT by folder and click it
Method C: Use a LUT node (most flexible)
- Right-click the node graph and select Add Node → Add Serial
- Right-click the new node and choose Node Color Space → then LUT
- This makes it visually clear in the node tree that this node is dedicated to a LUT — useful in complex grades
Once applied, you’ll see a small LUT icon in the top-right corner of that node. That’s your confirmation it’s active.
Step 4: Control LUT Intensity with Node Opacity
Straight out of the box, most LUTs apply at 100% strength. That’s often too heavy — especially on skin tones or mixed lighting situations. Here’s how to dial it back:
- Select the node with the LUT applied
- In the Key panel (top-right of the Color page), find the Key Output Gain slider
- Pull it down — 0.7 to 0.85 is a common sweet spot for creative LUTs
Alternatively, right-click the node and check if Node Opacity is available in your version. Either method gives you blend control without adding extra nodes.
Step 5: Use LUTs in the Color Space Transform (for Log Footage)
If you’re working with log footage from a Sony, Canon, or Blackmagic camera, you might be using DaVinci Resolve’s Color Space Transform (CST) node as a conversion layer. In that case, your workflow looks slightly different:
- Node 1: CST node — converts from your camera’s log color space (e.g., S-Log3 / S-Gamut3.Cine) to Rec.709 or DaVinci Wide Gamut
- Node 2: Your creative LUT
- Node 3: Output grade
If you’re shooting Sony log and want a clean starting point, the Nebula Conversion LUTs are built specifically for this — they handle the log-to-Rec.709 conversion with a cinematic base baked in, so you skip the CST node entirely and go straight to creative grading.
For more workflow guides like this, browse the Cine Source tutorials section.
Common Mistakes When Applying LUTs in DaVinci Resolve
- Applying a LUT to already-corrected Rec.709 footage. Creative LUTs are designed for log or flat profiles. If your footage is already in Rec.709, the LUT will clip highlights and crush blacks. Always check your input color space first.
- Skipping node 1 corrections. A LUT doesn’t fix bad exposure or wrong white balance — it amplifies them. Always do a basic correction pass before the LUT node.
- Using a LUT meant for a different camera profile. A LUT built for S-Log3 won’t work correctly on C-Log3 footage. Check the LUT documentation for supported input profiles.
- Not updating the LUT list after import. If your LUTs don’t show up after copying files to the folder, go back to Preferences and hit Update Lists again.
- Treating the LUT as the final grade. A LUT is a starting point, not a finished look. Plan to adjust saturation, contrast, and secondary corrections after applying it.
Conclusion
Applying LUTs in DaVinci Resolve is a straightforward process once you understand the node structure and the correct application order. Import your files via Preferences, build a clean three-node chain, apply the LUT to the middle node, and refine from there. The actual grading work starts after the LUT is in — not before.
If you’re looking for LUTs built with proper input profiles and real-world footage in mind, browse the Cine Source LUT collection — organized by camera and color science so you always know exactly which file to use.
FAQ: Applying LUTs in DaVinci Resolve
Can I apply multiple LUTs to the same clip in DaVinci Resolve?
Yes. Each serial node can carry its own LUT. In practice, you’d typically use one conversion LUT and one creative LUT in separate nodes — stacking more than two usually introduces color artifacts and is hard to control.
What’s the difference between applying a LUT in the Color page vs. the Edit page?
On the Edit page, you can drag a LUT onto a clip as an effect, but you have very limited control — no node opacity, no secondary corrections. Always apply LUTs on the Color page if you want a professional, controllable result.
Why does my LUT look too strong or blown out?
Most likely your footage isn’t in the correct input color space, or you’re applying a log-to-Rec.709 LUT on footage that’s already been tone-mapped. Check your Color Science settings in Project Settings and make sure the LUT matches your camera’s log profile.
Do LUTs work with RAW footage in DaVinci Resolve?
Yes, but you need to handle the RAW decode first. In the Camera RAW panel (Color page, top-left), set your color space and gamma, then apply the LUT downstream in the node tree. Applying a LUT before decoding RAW correctly will give you unpredictable results.
Where does DaVinci Resolve store LUT files by default?
On Mac: /Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT/. On Windows: C:ProgramDataBlackmagic DesignDaVinci ResolveSupportLUT. You can also point Resolve to any custom folder via Preferences → General → LUTs.
