Let’s first address the elephant in the room. How can these LUTs be for all of the F-Log variants? 

Well, that’s because they aren’t really for any of the F-Log variants, but at the same time can be used for all of them. I’ll explain, I promise, but first I need to tell you how it works using a term I just coined.

These LUTs are meant to be applied after the Eterna Cinema LUT and are based on the BYOEL (Bring Your Own Eterna LUT - that’s the term) approach, meaning that they can be used for any Fujifilm camera as long as there’s an Eterna LUT available. Fortunately, Fujifilm provides these so they are publicly available here. Unfortunately, those LUTs can be different on a per camera (or per sensor) basis. If that Eterna LUT was baked in, it would be a different pack for each camera (or sensor) since there might be minute differences in those LUTs due to sensor changes.

So if you have an X-S20 and F-Log2 footage, you can apply these LUTs after the X-S20 F-Log2 to Eterna Cinema LUT and get the film simulations. Likewise, if you have a video with baked in Eterna Cinema film simulation, you can just apply these LUTs to get the film simulation you want. You can see where this is going, right? If you have an Eterna Cinema-like low contrast image or video, you can apply these LUTs and get the film simulation look you’re looking for - this last bit only guarantees the film simulation's “creative look”.

TL;DR: To be used with any F-Log variant video, these LUTs need to be applied after the publicly available F-Log(/F-Log2/F-Log2 C) to Eterna Cinema LUT for your camera.

In the end, this was a design decision that makes it a single pack for all Fujifilm cameras (even the upcoming ones) and all F-Log variants - as long as there’s an Eterna Cinema LUT available. And most importantly, it’s a single purchase for you.

LUTs are supplied as .cube files and can be used in any application that supports them, most notably DaVinci Resolve, Premiere Pro and Final Cut Pro.