Unleashing the Cinematic Beast: A Deep Dive into Fujifilm F-Log2 Color Grading

F-Log2 Color Grading for Fujifilm: A Practical Workflow for Cinematic Results

If you’ve just started exploring F-Log2 color grading, the first thing you’ll notice is how flat and quiet your footage looks straight out of a Fujifilm camera. That muted contrast and lower saturation can feel a bit scary — especially if you’re used to punchy Rec.709. But that “boring” image is exactly what gives you the flexibility to build beautiful, filmic color. In this guide, I’ll walk you through a reliable Fujifilm F-Log2 color grading workflow that works in 2025, with real-world tips, simple troubleshooting, and a clean way to get consistent, professional results in DaVinci Resolve F-Log2 projects.

If you want a fast starting point that still leaves room for your own creative tweaks, you can pair your technical conversion with a tasteful creative pack like the 700+ Cinematic Video LUTs for your next project and browse the curated Cinematic LUTs for DaVinci Resolve collection. If you’re ready to test multiple looks across different scenes, you can also Buy 3, Get 9 FREE when you add 12 to your cart.

What Makes Fujifilm F-Log2 Special?

F-Log2 is Fujifilm’s advanced log gamma designed to capture more highlight and shadow detail than standard profiles. Compared to Rec.709, it doesn’t “lock in” contrast or saturation. Instead, it preserves more data so you can shape the final mood in post. The result is smoother highlight roll-off, more forgiving skin tones, and better shot-matching across changing light — especially for hybrid creators shooting travel, weddings, interviews, and short films.

Fujifilm also now supports multiple log options across models. If you’re curious about the differences between F-Log, F-Log2, and F-Log2C and when each makes sense, Fujifilm’s official overview is worth a quick read: Fujifilm’s explanation of F-Log, F-Log2, and F-Log2C differences.

Why Your F-Log2 Footage Looks “Bad” at First

That flat look is intentional. You’re seeing a neutral container built for grading, not a finished aesthetic. Once you understand the goal, the “log look” becomes a creative superpower.

More recoverable highlight detail in bright exteriors and mixed lighting.
Better shadow flexibility when you need to lift exposure without breaking the image.
Consistent neutral starting point for matching multiple locations and lighting setups.

Camera Setup Tips That Make Grading Easier Later

Great color starts before you import a single clip. A few capture habits can dramatically reduce your grading time.

Expose with protection in mind: prioritize clean highlights, especially for skies, windows, and practical lights.
Use F-Log2 view assist (if available): it helps you judge contrast while still recording log data.
Set a reliable white balance: avoid auto WB if your scene has mixed color temperatures.
Keep ISO reasonable: F-Log2 is powerful, but noisy shadows can still show up if you push underexposed footage too far.

F-Log2 Conversion LUTs vs Color Space Transform (CST)

This is the fork in the road for most Fuji shooters.

F-Log2 to Rec.709 LUT: quick and simple. Great for fast previews or a lightweight workflow.
Color Space Transform (CST): more consistent and controllable in professional grading pipelines.

If you want the most predictable results in Resolve, CST (or full color-managed projects) is usually the better long-term habit. Blackmagic’s official overview on color management explains the logic behind this approach: Blackmagic’s DaVinci Resolve color and color management overview.

Step-by-Step F-Log2 Color Grading Workflow in DaVinci Resolve

This is a clean, repeatable node-based approach that works for most projects.

1) Import and organize your clips

Bring your footage into Resolve and group by scene or lighting condition. Even a simple bin structure helps you stay consistent.

2) Choose your technical conversion

You have two reliable options:

Option A: Use Fujifilm’s official LUTs to convert F-Log2 into a viewable space. You can find Fujifilm’s official LUT downloads here: Fujifilm’s official LUT download page.
Option B: Use CST by setting your Input Gamma/Color Space to F-Log2 and your Output to Rec.709 (or your target timeline).

3) Primary corrections (your “clean base”)

This is where you fix the fundamentals before adding style.

Exposure: use waveform to keep highlights controlled and midtones healthy.
Contrast: add just enough separation to feel natural — avoid crushing shadows early.
White balance: correct any color cast while your image is still neutral.

4) Secondary adjustments for realism

Dial in details that viewers notice instantly.

Skin tones: gently refine hue and saturation for consistent, flattering results.
Sky and foliage: reduce oversaturation or shift hues subtly if the conversion pushes them too far.
Mixed lighting: isolate problem areas with qualifiers instead of changing the whole image.

5) Add your creative look

Once your footage is stable, you can layer style with confidence. This is where a smart LUT choice can save hours.

For modern cinematic versatility across genres, the 700+ Cinematic Video LUTs for your next project gives you broad coverage. If you want a film-inspired Fuji vibe, the Fujifilm Vintage Old Look LUTs Pack can be a great creative finishing layer after your conversion node.

6) Texture and finishing

Subtle texture sells the “expensive” feel.

Grain: add lightly for organic motion and less clinical digital sharpness.
Soft highlight shaping: keep bright areas pleasing without losing detail.
Consistency pass: match shots in groups before exporting the final timeline.

Real-World Mini Example: A Fast, Balanced F-Log2 Grade

Here’s a simple approach you can test today:

Apply an F-Log2 to Rec.709 conversion (or CST).
Correct exposure to keep highlights smooth and midtones natural.
Neutralize white balance using a gray/white reference in the scene.
Add a gentle film-style creative LUT at 40–70% strength.
Refine skin tones with a soft secondary adjustment.

I tested a subtle film-contrast LUT on a golden-hour travel clip shot in F-Log2, and it delivered a clean “cinematic base” almost instantly — after that, a small tweak to midtone warmth and a mild saturation reduction on greens made the footage feel finished without looking over-processed.

Presets vs Manual Grading: What’s Best for F-Log2?

This debate is easier than it sounds. Manual grading is the best option when you need precise control for complex lighting, brand color requirements, or demanding narrative work. But LUT-based workflows are extremely effective for speed, consistency, and style exploration — especially when you treat LUTs as a starting point, not a final answer.

If you want a deeper breakdown of how to think about technical vs creative LUTs, this guide is a helpful companion read: What LUTs are and how to use them correctly.

Common F-Log2 Mistakes (and How to Fix Them)

Over-grading too early: lock your exposure and WB first, then add style.
Using a creative LUT as your first node: always convert to a normal viewing space before applying a look.
Pushing underexposed clips: F-Log2 has room, but noise can still show up if shadows are lifted aggressively.
Ignoring shot matching: a great hero grade won’t save a timeline full of inconsistent cuts.

For a broader troubleshooting mindset, you may also like: Common LUT mistakes creators make and how to fix them.

Building a Consistent “Fuji-Cinematic” Look Across Projects

If you want your work to feel recognizable and premium, aim for a repeatable template:

Use the same conversion method (CST or the same technical LUT) per project.
Create a small node tree you reuse for your most common shooting scenarios.
Save stills and use split-screen comparisons for fast matching.
Keep a short list of favorite looks instead of cycling through dozens.

If your edits often live inside Resolve, browsing a focused set like the Cinematic LUTs for DaVinci Resolve collection can help you build a consistent internal style library without slowing down your workflow.

A Simple Closing Workflow You Can Reuse

If you only remember one thing, remember this order: convert → correct → create. Start with a proper F-Log2 conversion, build a clean neutral base with primary corrections, then add creative style with restraint. This approach is fast, consistent, and protects image quality in the long run.

If you want a reliable shortcut for common cinematic moods while keeping full control of your base grade, explore the 700+ Cinematic Video LUTs for your next project alongside the Fujifilm Vintage Old Look LUTs Pack. You can mix and match looks across travel, street, weddings, and short films — and if you add 12 items to your cart, you can Buy 3, Get 9 FREE to build a solid Fuji-ready toolkit without committing to just one style.

FAQs

Do I need a LUT to color grade F-Log2?

No, but a technical F-Log2 to Rec.709 LUT or a CST conversion makes grading faster and more consistent. You can still build a full manual grade after you convert into a normal viewing space.

Is CST better than a conversion LUT for F-Log2?

For many creators, yes. CST often delivers more predictable color behavior and smoother control when you’re matching multiple scenes or building a repeatable node tree.

Why do my greens look weird after converting F-Log2?

Some conversions can push foliage too far depending on lighting and white balance. Try reducing green saturation slightly and adjust hue gently with qualifiers instead of changing global saturation.

What’s the fastest way to get a cinematic look from F-Log2?

Convert with CST or a technical LUT, do quick primary corrections, then apply a subtle creative LUT at reduced intensity. Finish with small skin-tone and contrast refinements for a natural, premium look.

Written by Asanka — creator of AAAPresets (10,000+ customers).