How to convert V-Log (Panasonic) and F-Log2 (Fujifilm) to Rec.709 in Premiere Pro, DaVinci Resolve and Final Cut

If you shoot V-Log on a Panasonic (S5 II, S5 IIX, GH6, GH7) or F-Log2 on a Fujifilm (X-H2S, X-H2, X-T5, X-S20), the footage comes out grey and flat. That is normal: log keeps more range so you choose the contrast later. To see it properly on a normal screen you convert it to Rec.709, and the key is using each brand's correct curve and gamut. I am a video editor and colorist; this is how I do it.

The right pair for each camera

• Panasonic: V-Log gamma + V-Gamut.
• Fujifilm: F-Log2 gamma + F-Gamut. F-Log2 is not the old F-Log: the curve is different and holds more highlight range.

Convert an F-Log2 clip as if it were F-Log, or a V-Log clip as if it were S-Log3, and you get odd contrast and shifted colors. That is the most common mistake.

In Premiere Pro

1. Recent versions recognize both brands' log. Right click the clip › Modify › Interpret Footage › Color Management and check it says V-Log or F-Log2. With the sequence in Rec.709, Premiere converts for you.
2. If your version does not recognize it: Lumetri › Basic Correction › Input LUT › the brand's official LUT (Panasonic publishes V-Log to V-709 and Fujifilm publishes F-Log2 LUTs, free on their sites).
3. Convert once: never the automatic conversion and the LUT together.

In DaVinci Resolve

1. First node: Color Space Transform.
2. Panasonic: Input Color Space Panasonic V-Gamut, Input Gamma Panasonic V-Log.
3. Fujifilm: Input Color Space FujiFilm F-Gamut, Input Gamma FujiFilm F-Log2 (older Resolve versions may not list it: update, or use the official LUT).
4. Output Rec.709, Gamma 2.4, Tone Mapping set to DaVinci.
5. Exposure and balance in nodes before the CST; the look in a node after it.

In Final Cut Pro

Select the clip › Info inspector › Camera LUT. Panasonic V-Log is in the list. If F-Log2 is missing in your version, choose Add Custom Camera LUT and load Fujifilm's official LUT.

Exposing so it stays clean

• Both curves have a higher base ISO than the normal profiles. In bright light use an ND filter, not a faster shutter.
• Middle grey sits around 42% in V-Log and 39% in F-Log2. Leave it darker and the shadows get noisy when you convert: better a stop over than a stop under.
• Use zebras so the sky does not clip, especially in F-Log2, which recovers a lot in the highlights but not the impossible.
• Lock white balance: if it shifts mid shot, no LUT fixes it later.

After converting: the look

The conversion gives a correct but neutral image. The style (warm, teal and orange, film) goes on top with a creative LUT at 40 to 80%. Some LUTs include the conversion and go straight on the log clip: they only work if they were made for your exact curve, so make sure they say V-Log/V-Gamut or F-Log2/F-Gamut.

Summary

1. Panasonic = V-Log + V-Gamut. Fujifilm = F-Log2 + F-Gamut.
2. Convert once: your app's color management, a CST, or the official LUT.
3. Exposure and balance first, then the look.
4. When shooting: a stop more light, ND if needed, zebras and locked white balance.

Shooting Sony or iPhone too? See S-Log3 to Rec.709 and Apple Log to Rec.709.

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