Fujifilm F-Log2 → S-Log3 Conversion LUT

Bring F-Log2 into an S-Log3 workflow

F-Log2 does not respond like Sony S-Log3. Creative LUTs built for S-Log3 land too flat, too dense or with shifted colour. This conversion translates F-Log2 / F-Gamut into Sony S-Log3 / S-Gamut3.Cine, so any S-Log3 look, and any Sony camera in the same edit, behaves as intended.

It is built from Fujifilm's published F-Log2 specification and Sony's S-Log3 specification. No look, no tone mapping, no gamut compression. 18% grey lands on S-Log3 code value 420 and 90% white on 598, exactly where a Sony camera puts them. The same result as Resolve's Color Space Transform, in a file that works in every editor.

Included

• .cube, 65 points, for DaVinci Resolve and Final Cut Pro
• .cube, 33 points, for Premiere Pro, CapCut and LumaFusion
• .dctl for DaVinci Resolve Studio: exact maths without LUT interpolation, an exposure control in real stops, and S-Gamut3.Cine or S-Gamut3 output
• A short guide with camera settings and workflow

Best suited for

• Fujifilm shooters on the X-H2S, X-H2, X-S20, X-T5, X-M5 or GFX100 II.
• Mixed shoots next to a Sony FX3, FX30, FX6, A7S III or A7 IV.
• Anyone who owns S-Log3 creative LUTs and wants to use them on Fujifilm footage.

This is a technical conversion, not a finished look. It cannot change what the sensor, lens or light did, so exposure and white balance still need matching shot by shot.

For F-Log2 only. Not for the original F-Log, F-Log2 C or film simulation profiles.