Sort the footage
Separate F-Log, F-Log2 and Film Simulation clips. Check the shoot notes or camera settings when metadata is unclear.
Bring X-T5 LOG footage into a coherent video grade while keeping F-Log, F-Log2 and baked-in Film Simulations clearly separated.
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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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The X-T5 can appear in a project with very different starting images. A clip recorded with a Film Simulation is already treated; F-Log and F-Log2 need the appropriate technical interpretation. Giving every X-T5 clip the same input conversion can make the edit harder to balance.
Organise the footage by its actual recording profile. Then choose a reference shot that represents the finished video rather than trying to make a moving sequence exactly duplicate a heavily edited still photograph.
When working across portraits and location details, refine the face first and then inspect greens, fabrics and highlights. A creative treatment should carry through the edit without making every scene equally contrasty or saturated.
F-Log and F-Log2 are separate inputs. A familiar camera name is not a substitute for checking the recorded profile.
Separate F-Log, F-Log2 and Film Simulation clips. Check the shoot notes or camera settings when metadata is unclear. Select the conversion corresponding to the recorded LOG curve. Do not use an F-Log conversion merely because the clip came from an X-T5.
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.
Separate F-Log, F-Log2 and Film Simulation clips. Check the shoot notes or camera settings when metadata is unclear.
Select the conversion corresponding to the recorded LOG curve. Do not use an F-Log conversion merely because the clip came from an X-T5.
Match exposure and white balance across portraits and location shots. Use a stable reference frame.
Introduce a look after the technical foundation is right. Judge skin, foliage and bright fabrics before copying it across the edit.
Check that a conversion explicitly matches F-Log2. Generic Fujifilm branding does not establish the expected curve.
A baked-in simulation and a LOG recording leave different work for post-production. This guide focuses on the latter.
Separate profile groups so that a batch adjustment does not accidentally convert already-treated footage.
Yes, in the same edit, provided each clip receives the correct input treatment before you match their appearance.
No. A baked-in Film Simulation is not F-Log2. Grade that footage according to its actual starting image.
Do not assume an exact match. Use the still as a visual reference and develop the video treatment while checking motion, skin and continuity.
F-Log2 is the main search focus, with F-Log covered to help you select the correct conversion. Both remain on this single X-T5 URL.
Profile reference: Fujifilm X-T5 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-T5 F-Log2 colour grading · Fujifilm X-T5 LUT workflow · Fujifilm X-T5 DaVinci Resolve · ToneLab Chroma Fujifilm X-T5 · Fujifilm X-T5 F-Log2 to Rec.709 · Hybrid photo and video projects
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