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Reference

I shot log. What do I actually set?

Ten camera log formats, three editors, 30 answers, each one taken from the documentation published by the company that makes the editor, not from a forum thread. Where a vendor publishes no setting for a camera, this page says so and tells you what is left. That happens 5 times, and those are the cases that cost people an evening.

What you shot
What you cut in

Sony S-Log3 in DaVinci Resolve

  1. 1Color Space Transform: Input Colorspace = the S-Gamut3.Cine entry (S-Gamut3 if that is what the camera was set to), Input Gamma = the S-Log3 entry.
  2. 2Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  3. 3Color-managed route: right-click the clip in the Media Pool and set the same pair as Input Color Space and Input Gamma.
  4. 4For Sony raw, Blackmagic prints its own spellings in the Camera Raw panel: Color Space “SGamut3.Cine” (or “SGamut3”) and Gamma “SLog3”, which Blackmagic describes as putting 18% gray at 40%.
  5. 5Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

Before you touch anything

Resolve derives a clip's Input Color Space in a fixed order: manufacturer colorimetry for camera raw (.braw, .R3D, .ari), then embedded color-space metadata from a QuickTime or MXF wrapper, then the project's default Input Color Space, and last your own override. Right-click the clip in the Media Pool and choose Input Color Space, and optionally Input Gamma. Camera raw is the one case you cannot override.

Where the code values land

S-Log3 puts an 18% grey card on 10-bit code 420 and a 90% white card on 598, full range: 41.1% and 58.4% on a full-range scale, 40.6 and 60.9 legal-range IRE.

Sources: Blackmagic Design, DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · Blackmagic Design, DaVinci Resolve 20 documentation, Chapter 7, “Camera Raw Settings” (pp. 171-190)

The part that does not change

Each editor asks a different question.

Resolve asks what the clip is and what you are delivering, and does the arithmetic. Premiere asks the same, with a tone-mapping choice in front of it. Final Cut does not ask: it reads the metadata and applies a manufacturer's viewing LUT. Those three shapes are why the same clip opens differently in each, before anyone grades.

DaVinci Resolve

  1. 1Route A, color-managed project: Project Settings > Color Management > Color science: DaVinci YRGB Color Managed. The Timeline Color Space then defaults to Rec. 709 Gamma 2.4, and each clip is normalized into it from whatever its Input Color Space says it is.
  2. 2Route B, one node: add a Color Space Transform to a node on the Color page. It exposes four menus (Input Colorspace, Input Gamma, Output Colorspace, Output Gamma) plus a Swap button that reverses the conversion.
  3. 3For Rec.709 delivery on Route B: Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  4. 4Tone Mapping Method, on the same effect, is a separate choice: None, Clip, Simple, Luminance Mapping, DaVinci, or Saturation Preserving. Blackmagic recommends DaVinci for wide-gamut camera media and for mixing cameras.
  5. 5Do not run both routes at once on the same clip. A color-managed project has already normalized the shot; a Color Space Transform on top of that is a second normalization, and the picture goes hard and clipped.

How it decides what your clip is
Resolve derives a clip's Input Color Space in a fixed order: manufacturer colorimetry for camera raw (.braw, .R3D, .ari), then embedded color-space metadata from a QuickTime or MXF wrapper, then the project's default Input Color Space, and last your own override. Right-click the clip in the Media Pool and choose Input Color Space, and optionally Input Gamma. Camera raw is the one case you cannot override.

Source: Blackmagic Design, DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471)

Adobe Premiere Pro

  1. 1Sequence Settings > Color tab > Color setup. A new sequence is set to Direct 709 (SDR) and its Output Color Space defaults to Rec.709, which is the setting you want for an ordinary Rec.709 delivery. Adobe describes that preset as letting SDR media pass through while wide-gamut raw and log sources are tone mapped and gamut compressed on input.
  2. 2Auto detection has a switch: Color Manage Auto Detected Log and Raw Media, in the Project group of the Settings tab of the Lumetri panel. It has to be on for clips to be detected.
  3. 3When a clip is not detected, or is detected wrongly, set it yourself with the Override Media Color Space menu. Adobe states this menu covers the commonly used color spaces for supported cameras and formats, so footage recorded or transcoded to QuickTime or MXF can be color managed without tracking down an input LUT.
  4. 4Tone mapping is a choice, not a constant: By Channel, Max RGB, or Hue Preservation, which is the default and the one with a Knee control. It can run on input, per clip, or once on output for the whole sequence, in the Advanced controls of the Color tab of Sequence Settings.

How it decides what your clip is
Adobe warns that QuickTime, MXF and MP4 carry no complete color-space metadata for vendor-specific camera color spaces, so a camera recording straight to those containers may or may not arrive tagged, and media transcoded by Adobe Media Encoder generally does not. Camera raw is the reliable case. Everything else may need the override.

Source: Adobe, Configure sequence color management, Premiere Pro · Adobe, Manage source media colors in the Program Monitor, Premiere Pro · Adobe, Color management options, Premiere Pro

Final Cut Pro

  1. 1Final Cut Pro does the log conversion with a built-in camera LUT, applied at the media level across the library and before any clip effect, not with a color-space transform you configure.
  2. 2On import it reads the log format from the clip's metadata and applies the matching camera LUT on its own. When the metadata is missing or was lost in a transcode, set it by hand: select the clips, open the Info inspector, set the Metadata View pop-up to General, Extended or Settings, and choose from the Camera LUT pop-up.
  3. 3The library's color processing decides what that LUT does. Wide Gamut HDR preserves the full dynamic range of the log media; Standard, or the deprecated Wide Gamut, tone maps it down to SDR.
  4. 4For a Rec.709 delivery from a Standard library, the camera LUT is the whole normalization step. Adding a second log-to-709 LUT as a clip effect on top of it is the commonest way to get a crushed, over-contrasted picture in this editor.

How it decides what your clip is
Apple states the automatic path outright: when you import log media, Final Cut Pro detects metadata identifying the log format and applies the appropriate built-in camera LUT, converting the media to the library's working space. Depending on the camera it also reads exposure index, ISO and white balance.

Source: Apple, Apply LUTs in Final Cut Pro for Mac · Apple, Use built-in camera LUTs to color correct ProRes RAW video in Final Cut Pro for Mac

Camera by camera

Every pairing, written out.

The picker above is a shortcut. Everything it can show is below, in full, so this page is readable without running a script.

Sony S-Log3

Curve
S-Log3
Gamut
S-Gamut3.Cine (or S-Gamut3)
Where middle gray lands
S-Log3 puts an 18% grey card on 10-bit code 420 and a 90% white card on 598, full range: 41.1% and 58.4% on a full-range scale, 40.6 and 60.9 legal-range IRE.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the S-Gamut3.Cine entry (S-Gamut3 if that is what the camera was set to), Input Gamma = the S-Log3 entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • Color-managed route: right-click the clip in the Media Pool and set the same pair as Input Color Space and Input Gamma.
  • For Sony raw, Blackmagic prints its own spellings in the Camera Raw panel: Color Space “SGamut3.Cine” (or “SGamut3”) and Gamma “SLog3”, which Blackmagic describes as putting 18% gray at 40%.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · DaVinci Resolve 20 documentation, Chapter 7, “Camera Raw Settings” (pp. 171-190)

Adobe Premiere Pro

Vendor publishes a setting

  • Override Media Color Space: “Sony S-Log3/S-Gamut3.Cine”. Adobe lists “Sony S-Log3/S-Gamut3” as a separate entry. Pick the one the camera was actually set to, because they are different gamuts on the same curve.
  • Leave the sequence on Direct 709 (SDR) with Output Color Space Rec.709.
  • Sony is one of the five raw families Adobe lists as handled automatically, so Sony RAW and X-OCN arrive tagged; XAVC in an MP4 or MXF wrapper often does not.

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

Vendor publishes a setting

  • Camera LUT: “Sony S-Log3/S-Gamut3.Cine”, or “Sony S-Log3/S-Gamut3” to match the camera.
  • Apple states this applies the appropriate linearization and 709(800%) MLUT tone mapping: Sony's own monitoring LUT, not a neutral transform. It is a look as well as a normalization, and that is the reason a Final Cut picture and a Resolve picture of the same clip do not start in the same place.
  • Library color processing Standard gives you the tone-mapped SDR result; Wide Gamut HDR keeps the range.

Apply LUTs in Final Cut Pro for Mac · Use built-in camera LUTs to color correct ProRes RAW video in Final Cut Pro for Mac

Panasonic V-Log

Curve
V-Log (V-Log L on the smaller bodies)
Gamut
V-Gamut
Where middle gray lands
V-Log puts an 18% gray card on 10-bit code 433 and a 90% white card on 602, full range: 42.3% and 58.8%, or 42.1 and 61.4 legal-range IRE.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the V-Gamut entry, Input Gamma = the V-Log entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • Color-managed route: set the same pair as the clip's Input Color Space and Input Gamma in the Media Pool.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · VARICAM V-Log/V-Gamut technical reference, Rev.1.0

Adobe Premiere Pro

Vendor publishes a setting

  • Override Media Color Space: “Panasonic V-Log/V-Gamut”.
  • Sequence on Direct 709 (SDR), Output Color Space Rec.709.
  • Panasonic is not one of the raw families Adobe lists as automatic, so expect to set this rather than rely on detection.

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

Vendor publishes a setting

  • Camera LUT: “Panasonic V-Log”.
  • Apple states it uses Panasonic's Varicam 35 3D LUTs to convert V-Log to V-709/V-2020, so the target is Panasonic's V-709, not Rec.709 as an abstraction. V-709 is a Rec.709 display look of Panasonic's design.
  • Library color processing decides whether the range is kept or tone mapped to SDR.

Apply LUTs in Final Cut Pro for Mac · Use built-in camera LUTs to color correct ProRes RAW video in Final Cut Pro for Mac

Canon Log 3

Curve
Canon Log 3
Gamut
Cinema Gamut (or BT.2020 on some bodies)
Where middle gray lands
Canon Log 3 puts an 18% gray card on 10-bit code 351 and a 90% white card on 577, full range. Canon's own axis is not reflectance: its scene-linear percentage is normalized so 100% is a 90% white card, which is why reading the published curve as if 0.18 meant 18% gives 339 instead of 351.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the Cinema Gamut entry, Input Gamma = the Canon Log 3 entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • Canon raw: Blackmagic's Camera Raw panel offers Color Space “Canon Cinema Gamut or other common colorspaces” and Gamma “a Canon Log version or Rec 709”.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · DaVinci Resolve 20 documentation, Chapter 7, “Camera Raw Settings” (pp. 171-190)

Adobe Premiere Pro

Vendor publishes a setting

  • Override Media Color Space: “Canon Log3/Cinema Gamut”. Adobe also lists “Canon Log/Cinema Gamut” and “Canon Log2/Cinema Gamut”: three different curves, and picking the wrong one is the classic Canon mis-tag.
  • Sequence on Direct 709 (SDR), Output Color Space Rec.709.
  • Canon is one of the raw families Adobe lists as handled automatically.

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

Vendor publishes a setting

  • Camera LUT: “Canon Log 3/Cinema Gamut”.
  • Apple states it uses Canon's EOS C300 Mark II 3D LUTs to convert Canon Log 3 with Cinema Gamut to Wide DR gamma. The destination is Canon's Wide DR, not Rec.709 directly. If you need a Rec.709 master you are grading from Wide DR, and it will look flatter than you expect at the start.
  • This is the one camera family on this page where Final Cut's built-in path lands somewhere other than a 709 look.

Apply LUTs in Final Cut Pro for Mac

ARRI LogC3 (ALEXA, AMIRA, ALEXA Mini)

Curve
LogC3
Gamut
ARRI Wide Gamut 3
Where middle gray lands
LogC3 puts an 18% gray card on 10-bit code 400 exactly (ARRI states 0.391, “which is 400/1023”) and a 90% white card on 572. The curve is exposure-index dependent: ARRI publishes eleven parameter sets from EI 160 to EI 1600, all of which put gray on 400, and EI 800 is the one to use when the EI is unknown.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the ARRI Wide Gamut 3 entry, Input Gamma = the LogC3 entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • Blackmagic names ARRI Log C as one of the log formats you can grade in as a Timeline Color Space, if you would rather work in log than in Rec.709.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471)

Adobe Premiere Pro

Vendor publishes a setting

  • Override Media Color Space: “ARRI LogC3/Wide Gamut3”.
  • Sequence on Direct 709 (SDR), Output Color Space Rec.709.
  • ARRI is one of the raw families Adobe lists as handled automatically, so .ari and ARRIRAW arrive tagged; ProRes recorded in-camera depends on the wrapper metadata.

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

Vendor publishes a setting

  • Camera LUT: “ARRI Log C”, which Apple describes as applying ARRI Log C linearization with a default tone mapping.
  • There is a second entry, “ARRI Log C (3D LUT)”, which uses the 3D LUTs embedded in the media to apply a custom look. That is the on-set look traveling with the file, not a neutral conversion. Choose it when you want what the DIT saw, and the plain entry when you want a clean start.

Apply LUTs in Final Cut Pro for Mac

ARRI LogC4 (ALEXA 35)

Curve
LogC4
Gamut
ARRI Wide Gamut 4
Where middle gray lands
LogC4 puts an 18% gray card on 10-bit code 285 and a 90% white card on 428, full range. Watch the IRE column in ARRI's own specification: it is the full-range normalized signal, not the legal-range IRE that Sony and Panasonic print, so an IRE figure carried across from a Sony table is wrong before it starts.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the ARRI Wide Gamut 4 entry, Input Gamma = the LogC4 entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • LogC4 is a different curve from LogC3, not a revision of it. A LogC4 file decoded as LogC3 is a mis-tag, and on the two published curves it costs 1.66 stops at an 18% gray card.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · ARRI LogC4 Logarithmic Color Space Specification

Adobe Premiere Pro

Vendor publishes a setting

  • Override Media Color Space: “ARRI LogC4/Wide Gamut4”.
  • Sequence on Direct 709 (SDR), Output Color Space Rec.709.

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

Vendor publishes a setting

  • Camera LUT: “ARRI LogC4”.
  • Apple states it uses ARRI's ALEXA 35 LogC4 3D LUTs to convert LogC4 to Rec. 709/Rec. 2020. Which of the two you land in follows the library's color processing setting.

Apply LUTs in Final Cut Pro for Mac · Use built-in camera LUTs to color correct ProRes RAW video in Final Cut Pro for Mac

RED Log3G10

Curve
Log3G10
Gamut
REDWideGamutRGB
Where middle gray lands
Log3G10 puts an 18% gray card at one third of the signal. RED's name says so: 3G is the mapping of 18% mid gray to 1/3, and 10 is the ten stops of range above it. RED defines the curve as a normalized float and publishes no integer code-value convention, so the 10-bit figures on our log reference are ours for comparability, not RED's.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the REDWideGamutRGB entry, Input Gamma = the Log3G10 entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • Blackmagic names REDWideGamutRGB/Log3G10 as one of the log Timeline Color Spaces, and its ACES input transform for all RED media is “RWGLog3G10”.
  • R3D is camera raw, so a color-managed project derives its input color space from RED's own colorimetry and does not let you override it.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · White Paper on REDWideGamutRGB and Log3G10

Adobe Premiere Pro

Vendor publishes a setting

  • Override Media Color Space: “Red Log3G10/Wide Gamut”.
  • Sequence on Direct 709 (SDR), Output Color Space Rec.709.
  • RED is one of the raw families Adobe lists as handled automatically, and Adobe calls camera raw the most reliable metadata there is. For R3D you should not have to set anything.

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

No published setting

  • Apple's built-in camera LUT list has no RED entry. There is no Log3G10 option in the Camera LUT pop-up.
  • What Apple does publish is the route around it: custom camera LUTs, which it describes as provided by camera manufacturers or created by your DP, DIT or colorist, imported alongside the built-in ones. RED publishes Log3G10 to Rec.709 LUTs.
  • A custom LUT effect is the other route, applied as a clip effect from the Effects browser rather than at media level, and Apple notes custom LUT effects can also apply tone mapping for a custom conversion to the project's output color space.

Apply LUTs in Final Cut Pro for Mac · White Paper on REDWideGamutRGB and Log3G10

Nikon N-Log

Curve
N-Log
Gamut
BT.2020
Where middle gray lands
N-Log puts an 18% gray card on 10-bit code 372 and a 90% white card on 603. Nikon does not label the specification full range or legal range; it emits values on a 0-1023 scale with zero reflectance landing at 127.2, which is the full-range scale by arithmetic.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the BT.2020 entry, Input Gamma = the N-Log entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • Nikon raw: Blackmagic's Camera Raw panel offers Gamma “N-Log or one of the common video colorspaces” and Color Space “one of the common video colorspaces”.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · DaVinci Resolve 20 documentation, Chapter 7, “Camera Raw Settings” (pp. 171-190)

Adobe Premiere Pro

No published setting

  • Adobe's published list of input color spaces has no N-Log entry. It names Sony, Panasonic, Canon, ARRI, RED, Fujifilm F-Log, Apple Log, Leica L-Log and DJI D-Log, and stops there.
  • Nikon is also absent from Adobe's list of raw camera formats handled automatically.
  • That leaves the LUT route: Nikon publishes an N-Log 3D LUT, applied in Lumetri as an input LUT, and a sequence left on Direct 709 (SDR) so nothing else is transforming the clip underneath it. Do not do both: a LUT on top of a color-managed conversion is two normalizations.

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

Vendor publishes a setting

  • Camera LUT: “Nikon N-Log”.
  • Apple states it uses Nikon's Z 6 3D LUT to convert N-Log to Rec. 709: one LUT, applied to every Nikon body that records the curve.
  • This is the inversion worth knowing: the editor with the fewest color-management controls is the one that handles N-Log out of the box, and the one with the most does not list it.

Apply LUTs in Final Cut Pro for Mac · Color management options, Premiere Pro

Fujifilm F-Log

Curve
F-Log
Gamut
F-Gamut (BT.2020 primaries)
Where middle gray lands
F-Log puts an 18% gray card on 10-bit code 470 and a 90% white card on 705, with black at 95: the three anchors Fujifilm prints in its own data sheet, and the reason the range convention is settled arithmetically rather than by a sentence.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the F-Gamut or BT.2020 entry, Input Gamma = the F-Log entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · FUJIFILM F-Log Data Sheet Ver.1.1

Adobe Premiere Pro

Vendor publishes a setting

  • Override Media Color Space: “Fuji F-Log/Rec. 2020”. Adobe pairs the curve with Rec. 2020 rather than naming F-Gamut, which is the same set of primaries.
  • Sequence on Direct 709 (SDR), Output Color Space Rec.709.

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

Vendor publishes a setting

  • Camera LUT: “Fujifilm F-Log”.
  • Apple states it uses Fujifilm's X-H2S 3D LUT to convert F-Log to WDR Rec. 709: a wide-dynamic-range 709, not a contrasty broadcast 709, so it will look softer than a Sony 709(800%) result on the timeline beside it.

Apply LUTs in Final Cut Pro for Mac

Fujifilm F-Log2

Curve
F-Log2 (and F-Log2 C, which is the same curve)
Gamut
F-Gamut for F-Log2; F-Gamut C for F-Log2 C
Where middle gray lands
F-Log2 puts an 18% gray card on 10-bit code 400 and a 90% white card on 570, black at 95. Fujifilm states the F-Log2 gamma curve is identical to F-Log2 C's, so those two differ by gamut and not by curve. And F-Log2 shares middle gray with ARRI LogC3 at EI 800, which makes that particular mix-up cost nothing measurable on a gray card and up to a third of a stop four stops down.

DaVinci Resolve

Vendor publishes a setting

  • Color Space Transform: Input Colorspace = the F-Gamut entry (F-Gamut C if the camera was set to F-Log2 C), Input Gamma = the F-Log2 entry.
  • Output Colorspace = Rec.709, Output Gamma = Gamma 2.4.
  • F-Log2 is not F-Log. They are different curves with different anchors, and the two menu entries sit next to each other.
  • Blackmagic documents the four menus but does not print their contents, so the exact wording on screen is whatever your build shows.

DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · FUJIFILM F-Log2 Data Sheet Ver.1.1

Adobe Premiere Pro

No published setting

  • Adobe's published list of input color spaces has “Fuji F-Log/Rec. 2020” and no F-Log2 entry.
  • Tagging an F-Log2 clip as F-Log is not a near-enough substitute: the curves put middle gray 70 code values apart, at 400 against 470, and decoding one as the other costs 0.74 stops there.
  • The LUT route stands: Fujifilm publishes F-Log2 conversion LUTs, applied in Lumetri as an input LUT with the sequence left on Direct 709 (SDR).

Color management options, Premiere Pro · FUJIFILM F-Log2 Data Sheet Ver.1.1 · FUJIFILM F-Log Data Sheet Ver.1.1

Final Cut Pro

Vendor publishes a setting

  • Camera LUT: “Fujifilm F-Log2”.
  • Apple states it uses Fujifilm's X-H2S 3D LUT to convert F-Log2 to WDR Rec. 709.
  • Final Cut carries both Fujifilm curves as separate entries, so this is the reverse of the Premiere situation above.

Apply LUTs in Final Cut Pro for Mac

Blackmagic Film Generation 5

Curve
Blackmagic Film Generation 5
Gamut
Blackmagic Design Wide Gamut Gen 5
Where middle gray lands
This page carries no full-range code-value figures for Blackmagic Film Gen 5, and the reason is the interesting part: it is the one curve here that is NOT full range. Blackmagic publishes a mapping table under the heading “10-bit Video Levels”, and all seven of its rows are legal range: 18% gray on 400, black on 145. Read as full range, black moves to 95 and the whole picture sits wrong.

DaVinci Resolve

Vendor publishes a setting

  • BRAW in a color-managed project needs no tagging at all: Blackmagic Design is the manufacturer of both the camera and the editor, so Resolve debayers the file with its own colorimetry and you cannot override it.
  • Where you do choose is the Camera Raw Gamma, and Blackmagic's own description is the warning: Blackmagic Design Film is “not a viewable image and requires grading”. Blackmagic Design Video is the SDR display curve, and Blackmagic Design Extended Video sits between them with compressed highlights.
  • For a graded Rec.709 delivery: leave the clip on Blackmagic Design Film, let the color-managed project normalize it, and grade from there. Output Color Space Rec.709 Gamma 2.4.

DaVinci Resolve 20 documentation, Chapter 7, “Camera Raw Settings” (pp. 171-190) · DaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471) · Blackmagic Generation 5 Color Science, Technical Reference, May 2021

Adobe Premiere Pro

No published setting

  • Adobe's published list of input color spaces has no Blackmagic entry, and Blackmagic is not among the raw families Adobe lists as handled automatically.
  • Premiere does support Blackmagic RAW as a file format; that is a decode question, not a color-management one, and the two are easy to confuse.
  • The LUT route stands: Blackmagic publishes Gen 5 conversion LUTs with its camera software, applied in Lumetri as an input LUT with the sequence on Direct 709 (SDR).

Color management options, Premiere Pro · Configure sequence color management, Premiere Pro

Final Cut Pro

No published setting

  • Apple's camera LUT list has two Blackmagic entries and neither is Generation 5. “Blackmagic Design Film” is for the Blackmagic Cinema Camera and the Blackmagic Pocket Cinema Camera; “Blackmagic Design Film 4K” is for the Blackmagic Production Camera 4K.
  • Those are earlier generations of Blackmagic's color science. Applying one to a Gen 5 file is a mis-tag, not an approximation.
  • Use a custom camera LUT or a custom LUT effect with Blackmagic's own Gen 5 conversion LUT instead.

Apply LUTs in Final Cut Pro for Mac · Blackmagic Generation 5 Color Science, Technical Reference, May 2021

The gaps

Where nobody publishes an answer.

5 of the 30 pairings have no named setting in the editor vendor's own documentation. Every one of them is a camera somebody is shooting this week, and the absence is the reason the question keeps being asked.

CameraEditorWhat the vendor does publish
RED Log3G10Final Cut ProApple's built-in camera LUT list has no RED entry. There is no Log3G10 option in the Camera LUT pop-up.
Nikon N-LogAdobe Premiere ProAdobe's published list of input color spaces has no N-Log entry. It names Sony, Panasonic, Canon, ARRI, RED, Fujifilm F-Log, Apple Log, Leica L-Log and DJI D-Log, and stops there.
Fujifilm F-Log2Adobe Premiere ProAdobe's published list of input color spaces has “Fuji F-Log/Rec. 2020” and no F-Log2 entry.
Blackmagic Film Generation 5Adobe Premiere ProAdobe's published list of input color spaces has no Blackmagic entry, and Blackmagic is not among the raw families Adobe lists as handled automatically.
Blackmagic Film Generation 5Final Cut ProApple's camera LUT list has two Blackmagic entries and neither is Generation 5. “Blackmagic Design Film” is for the Blackmagic Cinema Camera and the Blackmagic Pocket Cinema Camera; “Blackmagic Design Film 4K” is for the Blackmagic Production Camera 4K.

Sources, with the date each was read

Every setting on this page comes from one of these. Vendor documentation changes without announcement, so each row carries the date it was read rather than a claim to be current forever.

PublisherDocumentRead
Blackmagic DesignDaVinci Resolve 20 documentation, Chapter 9, “Data Levels, Color Management, and ACES” (pp. 218-251) and Chapter 156, “Resolve FX Color” (pp. 3469-3471)Published as a 4,234-page PDF from Blackmagic's support page. Page numbers are the PDF's own.2026-09-13
Blackmagic DesignDaVinci Resolve 20 documentation, Chapter 7, “Camera Raw Settings” (pp. 171-190)The one place Blackmagic prints its own spellings of camera color spaces and gammas, for raw formats.2026-09-13
AdobeColor management options, Premiere ProCarries the published list of input color spaces and the tone-mapping algorithms. Read from the Internet Archive capture of 9 April 2025, because Adobe's servers refuse non-browser requests.2026-09-13
AdobeConfigure sequence color management, Premiere ProColor setup presets and the default output color space. Read from the Internet Archive capture of 31 December 2025.2026-09-13
AdobeManage source media colors in the Program Monitor, Premiere ProNames the auto-detection checkbox and the per-clip override. Read from the Internet Archive.2026-09-13
AppleApply LUTs in Final Cut Pro for MacLists every built-in camera LUT and states what each one converts to.2026-09-13
AppleUse built-in camera LUTs to color correct ProRes RAW video in Final Cut Pro for MacStates how the library's color-processing setting changes what a camera LUT does.2026-09-13
ARRIARRI LogC4 Logarithmic Color Space Specification2026-09-13
RED Digital CinemaWhite Paper on REDWideGamutRGB and Log3G102026-09-13
FujifilmFUJIFILM F-Log Data Sheet Ver.1.12026-09-13
FujifilmFUJIFILM F-Log2 Data Sheet Ver.1.12026-09-13
PanasonicVARICAM V-Log/V-Gamut technical reference, Rev.1.02026-09-13
Blackmagic DesignBlackmagic Generation 5 Color Science, Technical Reference, May 2021Not published on the web as a page: it ships inside the Blackmagic RAW SDK installer.2026-09-05

Why the same clip looks different in three editors

None of these three is doing the same thing. Resolve and Premiere both run a color-space transform: a piece of arithmetic that undoes the camera's encoding and re-encodes it for Rec.709, with an explicit and separate decision about how to compress the highlights that will not fit. Final Cut applies a manufacturer's 3D lookup table, which folds the undoing and the look into one step you do not configure. A Sony clip in Final Cut arrives through Sony's own 709(800%) monitoring LUT; the same clip in Resolve arrives through a transform with no look in it at all. Both are correct. They are not the same picture, and nobody has made a mistake.

This is also why the advice that circulates (apply the LUT, turn on color management, do both to be safe) produces the crushed, over-contrasted result people then try to grade their way out of. Two normalizations is one too many. Pick the route your editor documents and stop there.

What this page does not tell you

It does not tell you what your footage should look like. A correct Rec.709 conversion is the start of a grade, not the end of one: it puts the picture in the right container, and every creative decision is still ahead of you. It also says nothing about sensor quality. A transfer function describes how a signal was written down, not how cleanly it was captured, and two cameras with identical curves can look nothing alike.

And it is a snapshot. Adobe's list of input color spaces has grown repeatedly; Apple has added camera LUTs release by release. A gap named here may close. The dates in the sources table are there so you can tell how old this reading is.

For the code values themselves (where each curve puts an 18% gray card, and what it costs to decode one format with another's inverse), see the companion log format code value and IRE reference. The background is in what log footage is, the three routes are compared in why CST, ACES and LUTs look different, the Premiere ordering trap is worked through in applying a LUT to log footage in Premiere, and the exposure side is in exposing S-Log3 correctly. Shooting Sony? The free S-Log3 to Rec.709 LUT is a neutral conversion for both gamuts, measured against ACES 2.0 on real S-Gamut3.Cine footage, with no email asked.

Published by Leumos AI. The settings come from the editor vendors' documentation and the manufacturers' specifications, not from any Leumos measurement or product.

Where Leumos fits

Leumos is a color workspace that runs in a browser. You import footage, it detects the cuts, you match one selected shot to a still reference image, review the result in motion, and refine it with creative controls: a halation stage and a film-texture stage with grain, acutance, resolution and grain chroma among them. It exports graded video in Rec.709. It returns rendered video, not an AAF or a CDL. Its Edit handoff export gives each graded shot as its own file with handles, plus a Final Cut Pro 7 XML to relink them in Resolve or Premiere. Paid plans can download the grade as a LUT. So it does not replace the setting on this page: if you are finishing in Resolve, Premiere or Final Cut, the conversion above is still the thing to get right. Leumos is open: the Free plan gives you 10 reference matches a month, 1 GB per file, 1 GB cloud storage across the account, and 1080p 8-bit export, no watermark. Start in your browser.