Identify Apple Log
Confirm the colour setting on the iPhone 15 or 16 Pro source, including Pro Max variants. Do not infer it from ProRes alone.
Grade Apple Log from iPhone 15 Pro and 16 Pro with a clear separation between the recording codec, the colour profile and the final look.
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See the video for a guide to the general conversion and creative-grading process. This is a shared workflow demonstration; the camera-specific guidance is below.
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A file being ProRes does not, by itself, establish the correct colour conversion. Confirm that the original recording uses Apple Log rather than selecting a LOG LUT based only on the codec name.
Keep phone-side edits and exports in mind. If an app has already applied a look or converted the image for display, the file entering Resolve may no longer be the same LOG input as the original capture.
For a small production or travel edit, balance each lens and lighting setup before settling on a creative direction. Judge faces, neutral walls and highlight transitions together so that the finished sequence feels controlled rather than heavily processed.
Codec and colour profile answer different questions. Choose the transform from the actual Apple Log recording.
Confirm the colour setting on the iPhone 15 or 16 Pro source, including Pro Max variants. Do not infer it from ProRes alone. Use the original file where possible and document any app processing. Keep HDR and already-treated exports separate.
This sequence is designed for an SDR Rec.709 finish. Account for any existing colour management before applying a technical conversion; the same LOG-to-display transformation should not happen twice.
Confirm the colour setting on the iPhone 15 or 16 Pro source, including Pro Max variants. Do not infer it from ProRes alone.
Use the original file where possible and document any app processing. Keep HDR and already-treated exports separate.
Use the supported original Apple Log conversion once. Do not substitute Apple Log 2 just because it is newer.
Balance lens and lighting differences, then add the creative palette. Review the intended SDR delivery in a consistent viewing setup.
Match the recorded input rather than choosing from an undifferentiated collection of phone LUTs.
ProRes describes encoding; the actual colour recording setting determines the starting transform.
Account for project colour management and plugin conversion so the same source is not normalised twice.
No. Verify the colour encoding of the recording. A codec label is not enough to choose the input conversion.
Use the conversion matching the original Apple Log source. Do not treat the two profile generations as interchangeable.
Yes. The page covers matching Apple Log recordings from the 15 and 16 Pro families, including Pro Max variants.
Yes, after each source receives its own correct input interpretation. Match the shots visually before applying a shared look.
Profile reference: iPhone 15 / 16 Pro documentation. Check ToneLab’s current compatibility information for the exact input and installed version.
Find every camera in the ToneLab Camera Hub, or explore all Workflow articles.
Start with the correct Apple Log input, balance the shots and choose a look that fits your film.
iPhone 15 / 16 Pro Apple Log colour grading · iPhone 15 / 16 Pro LUT workflow · iPhone 15 / 16 Pro DaVinci Resolve · ToneLab Chroma iPhone 15 / 16 Pro · iPhone 15 / 16 Pro Apple Log to Rec.709 · First-generation Apple Log editing
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