Find the LOG clips
Confirm which X-E5 clips were recorded in F-Log2 rather than a baked-in Film Simulation.
Take X-E5 F-Log2 clips from a day of street photography into a considered travel film, with colour that carries from scene to scene.
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See the video for a guide to the general conversion and creative-grading process. This is a shared workflow demonstration; the camera-specific guidance is below.
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Street footage often begins as small observations: a shopfront, a passing face, a reflection and a detail in shadow. The grading task is to connect those moments without removing the different light that made them interesting.
Keep F-Log2 recordings separate from clips with a Film Simulation already baked in. A favourite still-photo recipe can suggest a palette, but it is not an input conversion for LOG footage.
After conversion, choose a reference that represents the intended atmosphere. Watch warm signage, green foliage and faces as you refine the look. A little restraint helps neighbouring shots feel related even when the subjects differ.
Use the photographic reference to guide the mood, then judge the video as a moving sequence.
Confirm which X-E5 clips were recorded in F-Log2 rather than a baked-in Film Simulation. Use the matching supported input treatment and check that no earlier stage already converted the footage.
This sequence is designed for an SDR Rec.709 finish. Account for any existing colour management before applying a technical conversion; the same LOG-to-display transformation should not happen twice.
Confirm which X-E5 clips were recorded in F-Log2 rather than a baked-in Film Simulation.
Use the matching supported input treatment and check that no earlier stage already converted the footage.
Balance the short clips against a representative travel scene, keeping intentional changes in light.
Introduce the creative palette gently, then check faces, shop lights and foliage across consecutive shots.
Choose a conversion for F-Log2 rather than treating a still-photo recipe as a LOG transform.
Preserve meaningful warm and cool light while removing colour shifts that interrupt the sequence.
Test a palette across several subjects and lighting conditions before applying it to the full edit.
Not if the simulation was baked into the recording. Confirm the capture setting and only apply F-Log2 conversion to matching footage.
Use it as a reference rather than promising an exact reproduction. Moving footage needs its own checks for skin, transitions and shot consistency.
No. A shaded doorway and an open square need different balancing even when they share a final palette.
This page focuses on compact street and travel sequences in F-Log2. The X-T5 page covers hybrid projects and sorting F-Log alongside F-Log2.
Profile reference: Fujifilm X-E5 documentation. Check ToneLab’s current compatibility information for the exact input and installed version.
Find every camera in the ToneLab Camera Hub, or explore all Workflow articles.
Start with the correct F-Log2 input, balance the shots and choose a look that fits your film.
Fujifilm X-E5 F-Log2 colour grading · Fujifilm X-E5 LUT workflow · Fujifilm X-E5 DaVinci Resolve · ToneLab Chroma Fujifilm X-E5 · Fujifilm X-E5 F-Log2 to Rec.709 · Street and travel stories
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