Fujifilm LUTs — F-Log2 & F-Log to Rec.709 Pack (22 LUTs)

F-Log and F-Log2 hold a lot of range and show you none of it. Fujifilm footage comes off the card flat and grey. These are conversion LUTs: each one decodes Fujifilm's log curve to Rec.709 and applies a look in the same file, so one drag onto the clip gets you from flat to finished.

Twenty-two files, eleven for F-Log2 and eleven for F-Log, yours to keep for one payment, and they work anywhere .cube works.

Every file is 65-point: 274,625 colour samples instead of the 35,937 in a standard 33-point LUT. A log conversion is the steepest curve a LUT carries, which is where a sparse grid shows up as banding in skies and skin. 65 points is the largest size DaVinci Resolve exports, and it loads anywhere a 33-point file does.

What's inside

The same eleven files for each curve. The file names say which curve they're for.

• Rec.709 Conversion: the technical one. A correct F-Log or F-Log2 to Rec.709 conversion, curve and F-Gamut, and nothing else, with a soft shoulder so highlights don't clip. Build your own grade on top.

• Neutral Rec.709: the conversion with a touch of contrast and colour, the minimum to look right straight away. Start here if you're unsure.

• Warm Cinematic: warmed mids, teal pushed into the shadows, skin held through the warmth. The default "this looks like a film" answer.

• Cool Moody: cooled and deepened, with skin protected so faces don't go blue along with everything else. Overcast, interiors, night exteriors.

• High Contrast: the punchiest here. Crushed blacks and lifted saturation for anything that needs to cut through on a phone screen.

• Faded Film: matte blacks and reduced saturation, the softest look in the set.

Which one should you use?

If you plan to grade afterwards, use the Rec.709 Conversion and build on top of it, or Neutral Rec.709 for a head start. If you want to be done, pick by the light: warm and sunlit wants Warm Cinematic, grey and overcast wants Cool Moody, and anything destined for social wants High Contrast.

How to use them

1. Download the pack. Every look is a separate .cube file.

2. Load one in your editor, DaVinci Resolve, Premiere Pro, Final Cut Pro, CapCut, VN, or LumaFusion.

3. Do not apply Fujifilm's own F-Log or F-Log2 conversion LUT first. These already contain the conversion. Stacking two is the most common way this goes wrong.

4. Set your white balance before the LUT, not after.

F-Log or F-Log2?

They are two different curves, and a file made for one gives the wrong contrast on the other, so check what you shot. F-Log2 arrived with the X-H2S and is on the newer bodies: the X-H2S, X-H2, X-T5, X-S20, X-M5, X100VI and GFX100 II. F-Log is on those too, and is the only log option on older bodies such as the X-T3, X-T4, X-S10 and X-H1. If your camera offers F-Log2 C, which records a wider gamut, these files don't cover it yet.

Shot with a Film Simulation?

Then you don't need a conversion. Footage shot in ETERNA, Classic Chrome or any other Film Simulation is already a finished, normal-looking image. These files are for log footage only.

Film stock looks

Five more files per curve, built with Luttie's film engine. Like the rest of the pack they go straight onto F-Log or F-Log2 footage: each one decodes F-Log or F-Log2 and F-Gamut, then develops the image through a film stock.

• Portrait 400 · Scan — inspired by Kodak Portra 400, scanned: soft contrast, warm skin, pastel highlights.
• Tungsten 500 · Cinema Print — inspired by Kodak Vision3 500T, through a print inspired by Kodak 2383: night and interiors, clean cool shadows, dense blacks.
• Daylight 250 · Cinema Print — inspired by Kodak Vision3 250D, through the same cinema print: neutral daylight colour with a projected-film finish.
• Soft 500 · Soft Print — inspired by Fuji Eterna 500, through a gentler print inspired by Fuji 3513DI: muted colour, soft contrast.
• Vivid 100 · Scan — inspired by Kodak Ektar 100, scanned: saturated, punchy colour.

Luttie's film stocks are its own, shaped after published data about the films named. They aren't measured copies, and Luttie isn't affiliated with Kodak or Fujifilm. To adjust one, set the same stock and source in the film engine and export your own.

Make them yours

Every look here is a starting point. Load one in the Luttie editor, adjust it, and export your own .cube.