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

F-Log2 clips from a Fujifilm body land in Premiere Pro gray and flat, and the F-Log entry in Premiere's color list is not the right one for them. Fujifilm publishes its own LUT for each camera. This guide shows where to get it, how to attach it as an Input LUT, and how to keep F-Log, F-Log2 and F-Log2 C from getting mixed up.

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 LUT built for one gives wrong contrast and exposure on the other. F-Log2 is recorded against BT.2020 primaries, which are wider than Rec.709, so 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.

Where to get Fujifilm's LUT

Fujifilm hosts the official LUTs on its X Global support site. The 3D LUT 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. Download the zip for your model, unzip it, and import the .cube file into your editing software. Those are Fujifilm's own instructions.

The page does not list the files inside each zip, what color space the LUTs convert to, or the license terms. Open the zip, read the file names, and use the one named for the profile you shot. Fujifilm also publishes IDT files and data sheets on its Technical Data page, which are for color-managed pipelines and not needed for this workflow.

What Premiere Pro does with F-Log2 on its own

Adobe's Color Management options page lists Fuji F-Log/Rec. 2020 as a camera log color space Premiere can assign to a clip. It does not list F-Log2. Adobe also warns that QuickTime, MXF and MP4 files may or may not carry metadata Premiere can use to assign a color space, so a Fuji MOV or MP4 is easy to leave unidentified. Assigning the F-Log entry to an F-Log2 clip applies the wrong curve, which is the same mistake as using an F-Log LUT. The safe route is the LUT Fujifilm made for the profile you shot.

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. Download Fujifilm's LUT for your camera

   Go to Fujifilm's 3D LUT download page at fujifilm-x.com and download the zip for your camera model. Unzip it. Fujifilm's instruction is to import the .cube file into your editing software. The page does not list what is inside each zip, so read the file names and pick the one named for the profile you shot. Do not use a file named for F-Log on F-Log2 footage.

3. 3. Pick one conversion route for the sequence

   Select the sequence, choose Sequence > Sequence Settings, and open the Color tab. For a Rec.709 delivery, Direct 709 (SDR) is the preset to look for. Adobe describes it as letting SDR media pass through while log and wide-gamut sources are tone-mapped and gamut-compressed on input. An F-Log2 clip that Premiere does not identify passes through untouched, which leaves Fujifilm's LUT to do the whole conversion. The steps below assume Direct 709 (SDR).

4. 4. Open Source Clip and read Media Color Space

   Select a Fuji clip in the timeline, open the Lumetri Color panel, go to the Settings tab and expand Source Clip. Adobe's list of camera log color spaces names Fuji F-Log/Rec. 2020 and does not name F-Log2. If Media Color Space says Rec. 709 and the picture is flat, Premiere has not converted the clip. Do not set it to the Fuji F-Log entry to fix an F-Log2 clip, because that is the wrong curve.

5. 5. Set Fujifilm's LUT as the Input LUT

   Still in Source Clip, open the Input LUT menu and choose Browse (or pick the LUT if you saved it to Premiere's Input folder). Select the F-Log2 .cube file from Fujifilm's zip. Then set Media Color Space to Rec. 709, the color space the LUT outputs. In Adobe's words, Input LUT does the conversion and Media Color Space tells Premiere what the LUT produces. Leave Preserve RGB off.

6. 6. Do the whole batch at once

   Back in the Project panel, select every clip from the same camera and profile and choose Clip Modify, Color, then set the same Input LUT and Media Color Space on all of them. Keep F-Log2 and F-Log2 C clips in separate batches.

7. 7. Check the picture, not the label

   Fujifilm's page does not say what gamma the LUT outputs, so judge the result on the scopes. Open Window > Lumetri Scopes and show the waveform. Blacks should sit near the bottom without crushing and highlights should not clip. If the clip looks flat or washed out after the LUT, check that you did not apply it twice before you reach for contrast sliders.

8. 8. Set white balance and exposure on the converted picture

   Premiere converts at the clip's input, before Lumetri's Basic Correction, so what you adjust there is already the converted picture. Use the White Balance Selector on something neutral, then bring skin to roughly 60 to 70 IRE on the waveform. Match the Fuji clips to your main camera last, as in the multi-cam order.

Where to put the LUT file

You can import a LUT from anywhere with the Input LUT menu. To make it show up in the menu every time, copy it into Premiere's Input LUT folder (Premiere Pro 24.0 and later list these in Source Clip). If it does not appear, restart Premiere.

• macOS: ~/Library/Application Support/Adobe/Common/LUTs/Input
• Windows: C:\Users\<user_name>\AppData\Roaming\Adobe\Common\LUTs\Input

Where Fuji footage goes wrong in Premiere

• An F-Log LUT on F-Log2 footage. Different curves, so contrast and exposure come out wrong. Read the LUT's file name.
• The Fuji F-Log entry as Media Color Space. Adobe's list has an F-Log entry and no F-Log2 entry. Picking it for an F-Log2 clip applies the wrong curve.
• F-Log2 C footage through an F-Log2 LUT. The curve matches but the gamut does not, so saturated colors shift. Use the LUT for the profile you shot.
• Converting twice. An Input LUT plus a Media Color Space or a second LUT on the same clip stacks two conversions. One route per clip.
• A LUT on a film simulation clip. Footage shot with a film simulation is already a finished Rec.709 picture, and a log LUT adds far too much contrast to it.

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 BT.2020 primaries. It has no separate F-Log2 C transform, so treat F-Log2 C clips as a case to check by eye.

In Premiere Pro, Basecut does not apply that color. It opens a project with label colors, markers and a sequence for each verdict, and ships one .cube file per clip for you to attach as the Input LUT. Do not stack it on top of Fujifilm's LUT. The 14-day free trial has 5 free exports and needs no card. See it on real footage.