BrunoCH

Good news if you haven't had a problem with this technique. Now I have the rec triger fuji cable and I can't anyway power my XT3 with my Ronin. But I use a long 2m USB-C cable and I gaff a loop about 40-50cm on the SC's handle and I wear my anker in my pocket or in a small shoulder bag. Works fine and lightweight!

Be careful and do tests. I had a problem using the DJI power supply via USB. All my data on the two cards are erased by switching off/on the DJI to power the XT3 (like explain to 10mm15s in this video). Not all time but twice during my tests. I will never use this technique. And anyway now I have the cable fuji ronin sc to trigger rec on off.

In the XT3 menu, DCI is about 4K DCI which is the 4K cinema standard. 4k is about 4k UHD which is the TV standard. It's just a small difference of a few pixels vertical lines; nothing else.

The best shoots I got with my XT3 are with the 4K DCI 400mbps, H265, F-log, color graded in Resolve beta 16.1, de-log with a color space transform node.

Interesting things after 2mn03s. https://youtu.be/FyqN6_PoVoI

The fuji LUTs are technical LUTs for delog (apart from the eterna LUT that is hybrid (delog + look eterna)). If you use the RCM to treat the F-log, you don’t need these technical LUTs anymore. The job is already done. On the other hand, you can always use creative LUTs to give a mood.

It’s the future of the Cmos sensor but it seems that it takes a long time to set up. Beauviala (Aaton camera creator) had written an interesting text three years ago already. https://www.afcinema.com/The-end-of-the-Neutral-Density-Filter.html

Yes it is. In ofx color space transform : input color space is only about input gamut and input color gamma is about gamma. You can find flog in input gamma only because it 's about gamma. And for input color space you need to choose REC 2020 because it's the gamut of flog.

On the XT3, 2K DCI is not as good as 4KDCI because they are not done the same way. (Skipping/binning vs downscale full read out sensor) Consequently on 2K there is often moiré on hairs and sometimes a severe moiré on certain tissues. For important work I shoot in 4K and I do postproduction (edit, colorgrading and output) on a 2K timeline.

@chadandreo I don’t do a lot. Just put input color space on FLog, and go back down highlights if they are too high with a curve or the log wheels or a ofx tone mapping and adjust the contrast and the WB. The picture is beautiful with beautiful skintone and blue sky and green vegetation and other colors too. You can still add a mood if you want. To understand how the RCM works, you have to read that https://www.provideocoalition.com/solutions-to-resolve-5-taming-color-management-part-1/ About ND filters I use one or two ND 16 digital Hoya Pro filters. @androidlad You’re right, but I don’t always try to emulate the filmlook. I try to make a beautiful picture with what I have (I used negative film in photo, but I think I will never shoot with film). But you can easily fix that and get down the saturation on the highlights if you want.

I continue to explore F-Log grading with RCM without LUT. I think I'm getting better results (colors, highlights roll off). F-log is very good; Fuji LUTs are not so good. I'm more excited about the definitive release of Resolve 16.1 than the XT3 firmware update.

For 2 years now I use a KM185 on a MixPre3 for the indoor sound of my shorts. It's perfect. No change forecast for a long time.

@thephoenix Yes the first one is nice. That’s Fuji LUT WDR + Auto WB in FCPX. For HLG, I can’t help you. I don’t use it. Perhaps it’s time to go back to F-log @Attila Bakos I like your contributions. They’re very instructive. But honestly, I don’t see any difference between your pictures ( or not significant). My thoughts are if I need to work quickly, I can use Fuji LUT in Fcpx because it’s my NLE. It’s possible to make a very nice color grade. But if I have time, I prefer to use the Resolve RCM. Skin tone, blue sky, green vegetation, and others colors are like I want. And very easy to work with.

Just a little test. The same file; F-log. The same basic treatment : Delog + Auto WB. Resolve RCM vs Resolve LUT vs FCPX LUT jpg RCM : input color F-log + OFX tone mapping simple + curve to match LUT waveform. jpg LUT : LUT Fuji WDR 709 jpg RCM WB : same thing + auto WB with picker on the white wall. jpg LUT WB : same thing + auto WB with picker on the same wall. jpg LUT FCPX : LUT Fuji WDR 709 jpg LUT FCPX WB : same thing + auto WB with picker on the same white wall. What do you think? https://drive.google.com/file/d/1dwqr-sQ49vYlUVckkwZdQbpxizCSXk3R/view?usp=sharing https://drive.google.com/drive/folders/1qJfwDUP64cxELYPyz44FoXW10GXsiM0y?usp=sharing

DaVinci Resolve Studio 16.1 public beta 2 released • Support for Fujifilm F-Log colorspace Now it's possible to use RCM and make color grading without LUT. 1a : F-LOG 1b : Color space F-Log+OFX tone mapping simple 1c : Simple adjustments expo, contrast and auto WB.