Fujifilm F-Log2 to Rec.709 in Final Cut Pro, step by step

Final Cut Pro has a Fujifilm F-Log2 Camera LUT built in, so most F-Log2 clips need a menu check, not a download. What decides how they look is which Fuji profile you shot, one library setting and whether Final Cut recognized the clip. This guide covers all three, and where Fujifilm's own LUT fits without converting twice.

Last checked 2026-10-10.

F-Log, F-Log2 and F-Log2 C are three different things

Fujifilm publishes a separate data sheet for each profile. F-Log and F-Log2 are different curves, so a conversion built for one gives wrong contrast and exposure on the other. F-Log2 is recorded in F-Gamut, and the red, green and blue primaries in Fujifilm's data sheet are the same as BT.2020's, which are wider than Rec.709. A conversion has to deal with the gamut as well as the curve. F-Log2 C keeps the F-Log2 curve and swaps in a wider gamut that Fujifilm calls F-Gamut C. Fujifilm's LUT page adds a footnote that the availability of F-Log2 C and F-Log2 varies by model.

What Final Cut Pro does on import

Apple says that when you import log media, Final Cut Pro detects metadata that identifies the camera maker and applies the matching built-in Camera LUT, converting the clip to the working space of the current library. Camera LUTs apply at the media level, across the whole library, and before any clip effects.

For Fujifilm, Apple's list has two entries: Fujifilm F-Log and Fujifilm F-Log2. Apple says each uses Fujifilm's X-H2S 3D LUT and converts to WDR Rec. 709. It does not name F-Log2 C.

The library setting that changes the result

Every Camera LUT depends on the library's color processing. A Standard library uses linear RGB with Rec.709 primaries, and the log conversion tone-maps the clip down to SDR. A Wide Gamut HDR library uses Rec.2020 primaries, and Apple says its built-in Camera LUTs then skip tone mapping and keep the full dynamic range of the log clip.

Pick one before you start. The setting is library-wide, changing it can alter how effects and blend modes look, and Apple suggests a separate library for each project or deliverable.

Fujifilm's own LUT

Fujifilm hosts LUTs on its X Global support site. The download page lists one zip per camera: X-series bodies such as the X-H2S, X-H2, X-T5 and X-S20, GFX models, and fixed-lens cameras like the X100VI. Fujifilm's instruction is to unzip the file and import the .cube file into your editing software.

The page is titled Film Simulation LUTs, and it does not list the files inside each zip, what color space they convert to, or the license terms. Fujifilm's GFX ETERNA white paper describes its provided 3D-LUT as a way to convert F-Log2 and F-Log2 C footage into film simulations, which are looks. So open the zip, read the file names, and know whether you are applying a plain conversion or a look. Fujifilm also publishes IDT files and data sheets on its Technical Data page, which are for color-managed pipelines and not needed here.

Step by step

1. 1. Confirm which Fuji profile the clip is

   Fuji has three log profiles you can run into: F-Log, F-Log2 and F-Log2 C. They are not interchangeable. Check the setting on the camera, or look at the footage: log is gray and flat, and a clip shot with a film simulation looks like a finished picture and needs no LUT. Fujifilm's LUT page says availability of F-Log2 C and F-Log2 varies by model, so do not assume your body offers all three.

2. 2. Choose the library's color processing

   Select the library in the Libraries sidebar, then choose File > Library Properties (or press Control-Command-J). Click Modify at the top of the Library Properties inspector and choose Standard or Wide Gamut HDR. For a plain Rec.709 film, Standard is the simpler setup. Choose Wide Gamut HDR if you want the full log range kept for grading or plan an HDR deliverable. Set it before you grade and do not change it midway.

3. 3. Check the Camera LUT on one clip

   Select an F-Log2 clip, press Command-4 to show the inspector and click the Info button. Click the Metadata View pop-up menu at the bottom left and choose General, Extended or Settings, then look at the Camera LUT pop-up menu. On a clip Final Cut recognized, it shows Fujifilm F-Log2, and the picture should look like a normal image rather than a gray one.

4. 4. Set it by hand if it says None

   Apple notes that some cameras do not embed the metadata, and that it can be lost when a file is transcoded. Select all your F-Log2 clips in the browser and choose Fujifilm F-Log2 in the Camera LUT pop-up menu. Choose F-Log2 and not Fujifilm F-Log, which is a separate entry for a separate curve. Apple says the change applies to every instance of the clip, in all projects and events in the library.

5. 5. Treat F-Log2 C clips as a separate batch

   Apple's list has Fujifilm F-Log and Fujifilm F-Log2 and does not name F-Log2 C. Fujifilm's data sheet says the F-Log2 curve is identical to F-Log2 C's, but F-Log2 C records a wider gamut that Fujifilm calls F-Gamut C. A conversion built for F-Log2 therefore gets the curve right and can still shift saturated colors on F-Log2 C footage. Keep those clips in their own batch and check them on the vectorscope.

6. 6. Check the picture on the scopes

   Choose View > Show in Viewer > Video Scopes (Command-7) and show the waveform and vectorscope. Apple describes the built-in F-Log2 conversion as ending in WDR Rec. 709, so it may not look identical to a plain Rec.709 LUT. Blacks should sit near the bottom without crushing and highlights should not clip. If the clip looks washed out, check that it was not converted twice before you reach for contrast.

7. 7. Use Fujifilm's LUT in place of the Camera LUT, not on top

   If you want Fujifilm's own LUT, download the zip for your camera from Fujifilm's LUT page, unzip it and read the file names. Set the clip's Camera LUT to None. Then either choose Add Custom Camera LUT in the Camera LUT menu and pick the Rec.709 option in the Output Color Space menu, or use the Custom LUT effect from the Color category of the Effects browser. Apple says the target color space is usually in the LUT's name. Use the Camera LUT or Fujifilm's file on a clip, never both.

8. 8. Set white balance with the eyedropper

   Choose Modify > Balance Color (or press Option-Command-B). In the Balance Color section of the Video inspector, click the pop-up menu, choose White Balance and click something that should be neutral. Apple advises against sampling an overexposed area or a light source. Do it clip by clip, because the light changes through the day.

9. 9. Set exposure and match the other cameras last

   Bring faces to roughly 60 to 70 IRE on the waveform and keep highlights from clipping. Trust the scope over a laptop screen. Match the other cameras to the Fuji last, as in the multi-cam order.

Where Fuji footage goes wrong in Final Cut

• The F-Log entry on F-Log2 footage. Apple lists them separately because the curves differ, so contrast and exposure come out wrong. Choose Fujifilm F-Log2.
• F-Log2 C footage through the F-Log2 entry. The curve matches but the gamut does not, so saturated colors shift. Check those clips on the vectorscope.
• Stacking conversions. A Camera LUT set to Fujifilm F-Log2 plus Fujifilm's LUT or a Custom LUT effect on the same clip converts the clip twice. Set the Camera LUT to None first.
• A look used as a conversion. Fujifilm describes its provided 3D-LUT as a way to apply film simulations. Read the file name before you decide it is the neutral picture.
• A LUT on a film simulation clip. Footage shot with a film simulation already has its look baked in, and a log conversion on top adds far too much contrast.
• Changing the library's color processing after you have graded. Apple warns that filters and blend modes can look different when you switch.

Where Basecut fits

A wedding card dump puts Fuji video next to a dedicated video camera's clips, and each needs its own conversion. Basecut converts F-Log2 clips with Fujifilm's published curve and a BT.2020 to Rec.709 matrix. It has no separate F-Log2 C transform, so treat F-Log2 C clips as a case to check by eye.

In Final Cut Pro, Basecut does not apply that color. It sends an FCPXML file with keyword collections and Favorite and Reject ratings, and ships one .cube file per clip. Apply it with the Custom LUT effect and set the clip's Camera LUT to None first, so you do not convert twice. The 14-day free trial has 5 free exports and needs no card. See it on real footage.