Stop Ignoring F-Log: A Simple Fuji Grading Workflow
Most Fujifilm shooters I meet begin with a Film Simulation, add contrast, and call the colour finished. That works for stills and quick clips, but it can leave an X-Series video looking rigid when a subject moves between harsh sun and deep shade. F-Log offers another route.
On my X-T5 and X-S20, F-Log has become a deliberate choice when several locations need a consistent grade. It does not create better footage automatically; it provides a compressed tonal starting point that asks for careful exposure, the matching LUT and a simple colour-grading workflow.
Why F-Log deserves a place in your kit
F-Log records a flatter, low-contrast image with D-Gamut-oriented colour, leaving room to shape highlights, shadows and skin tones after capture. A finished-looking Rec.709 clip can be harder to grade because its limited latitude is already compressed.
For me, the benefit appears in short films, music videos and travel pieces where several locations must feel like one production. A Melbourne laneway café, a Sydney Harbour ferry crossing and a shaded park can be matched more closely than three separate looks. The lens still controls framing, focus and texture; the profile keeps those scenes visually connected.
Set up the X-Series camera before recording
I begin with a firmware check, a formatted card and fixed white balance. In the Picture Profile, select F-Log, the intended frame rate and a matching shutter speed: 1/50 for 25p or 1/100 for 50p. I choose the lowest practical ISO, use autofocus with subject detection, and leave sharpening and noise reduction for the edit.
Australia’s 50Hz mains can make some cheap LED lamps flicker on camera. Test new locations before the important take. For delivery, 25p remains familiar locally, while 50p gives cleaner motion for sports, wildlife and active subjects. During a Gold Coast summer shoot, keep the body shaded, carry spare batteries and allow airflow between long takes. A short break can help during exports, but keep unrelated browser distractions, such as a no-signup demo, out of the grading timeline.
Expose for recovery instead of guessing
Log provides latitude; it cannot restore missing detail. Protect highlights and keep skin near the upper-middle of the waveform, using zebras, false colour or scopes rather than guessing from the camera LCD. A clipped white shirt is gone, and no slider can bring it back.
I aim for correct exposure at capture and adjust brightness later. Underexposure is tempting because log looks pale on the monitor, but lifting those shadows can reveal noise, weak colour and blotchy skin. In strong Australian sun, slightly brighter exposure can preserve a face without losing the sky.
Match the profile to the project
Choose the recording profile before shooting because it determines which transform belongs in the edit. A general cinematic LUT is not a substitute for the correct log-to-Rec.709 LUT.
| Profile | What the file contains | Grading latitude | Practical use |
|---|---|---|---|
| Rec.709 | Conventional video contrast and colour | Low | Fast edits and run-and-gun clips |
| F-Log | Low-contrast log image with D-Gamut colour | Moderate | Short films and matched multi-location footage |
| F-Log2 | Flatter log image built for more flexibility | High when exposure is correct | Professional projects with careful monitoring |
For ordinary videos, Rec.709 is quick and predictable. For this workflow, F-Log gives useful latitude without F-Log2’s extra complexity. Apply the official F-Log to Rec.709 LUT, set the timeline to Rec.709 Gamma 2.4, then normalise exposure and white balance before adding a creative look. F-Log2 needs its own LUT and disciplined shadow handling.
Use a repeatable grading checklist
A simple order prevents endless slider work: back up the originals, apply the correct transform, normalise the image, and only then style it. Work on a controlled display rather than an over-bright laptop panel.
Before importing
- Back up every original card file.
- Confirm that the LUT matches F-Log or F-Log2.
- Set Rec.709 Gamma 2.4 and a fixed white balance.
- Check the intended delivery frame rate.
During the creative pass
- Normalise exposure, contrast and white balance.
- Protect skin tones before raising saturation.
- Use curves and qualifiers gently.
- Review a sample on a phone and television.
These checks keep a grade coherent across clips and prevent a promising first scene from setting an inconsistent look for the whole edit.
Keep the look consistent across bodies and lenses
Keep a reference frame from each location. It helps when an X-T5, X-S10 or X-H2S responds slightly differently at a given ISO, and it prevents a custom curve from changing appearance in every episode. Consistent scopes, fixed camera settings and a saved grading node are more useful than adding an effect before every clip.
Community notes are useful when they describe exposure, software versions or measured results rather than declaring one film simulation universally best. For a perspective beyond English-language camera groups, this Japanese-language article can join a broader reading list, with browser translation handling most of the language barrier.
Put F-Log into your next production
Test it on one short project before changing your whole workflow. Record the same static scene in Rec.709 and F-Log, then grade both toward the same target. You will learn more in one evening than from another list of abstract tips.
If you are buying a body or accessory for video in Australia, compare GST-inclusive Australian-dollar pricing and warranty support through established local dealers. Imported stock may look cheaper, but returns and service can become the real cost when the seller is not operating here.
On your next shoot, create a folder for F-Log clips, set the white balance, expose with scopes, apply the correct LUT and save one reusable grade. Review the result beside your Rec.709 work after a week, then commit to the process that gives you the image you actually want.