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Posts posted by BrunoCH

  1. On 11/7/2023 at 10:07 PM, TomTheDP said:


    Here is the Sony with the Alexa. I just adjusted the Hue on the sony and applied the Emotive Color ARRI Daylight lut. 

    Now this is a really bad lighting situation. Sunlight, combined with Tungsten, and also bright green walls in the room lol. 

    here is the raw video from both cameras as well as PNG stills of the LOG image if anyone wants to play with them. 




    Here's my proposal for matching the two cameras. And a grade test. No LUT was used. 



    arri grade2_1.2.2.T.jpg

    sony grade2_1.1.3.jpg

  2. 1 hour ago, TomTheDP said:

    Somewhat unrelated to the topic. 

    My attempt at matching an ARRI Alexa Classic and an FX30. 

    Used an Xrite color checker passport chart. I guess that is cheating but I wanted to see if I could match them this way 100%. 

    I think these are very close but maybe not 100%. Thoughts?

    The more stylized one I switch the color space and gamma to RED and then put a Kodak lut on. The other two are just ARRI color space with the ARRI 709 lut. 




    Very close. What jumps out at me is a difference in the blue of the sofa cushions in both and a difference in the saturation of the reds in the second still. 



  3. 22 hours ago, Ricardo Constantino said:

    Hello all, 

    Looking for recommendations on a full frame vintage zoom lens.

    Between 24/28 and 50/70mm since I mostly use a 35mm and a 50mm when the distortion is a little bit much but want to have the versatility of a wider option for some cases.

    Aperture of 2.8 or 3.5 and can flare easily!

    Thank you in advance 🙂


    There's the Nikkor 25 50. I bought one, on eBay, 2 years ago, for $100. It only opens to F4 and is really good from F5.6. It is parofocal with three rings; aperture/focal/focus. I've already posted a short video test on XT4 (apsC) on this forum. 



    Password : nikkor2550

  4. 1 hour ago, Django said:

    What do you mean by "Resolve FUJI LUT"? I use the official Fuji Flog/Flog2 LUTs to convert to Rec709.

    I'm not aware of any particular Fuji LUTs in Resolve aside from the film stock emulation ones..?

    Yes I mean the Film look LUT from Resolve (stock emulation). I don't use the FUJI LUTs to delog the Flog, I prefer color management.

  5. 7 hours ago, Django said:

    So yeah poor colour separation when shooting at a certain distance. I've noticed colours get mushy in those scenarios. Your subject has to remain fairly close. I like what this one kid has achieved with his XH2S, the grade is a little extreme and stylised but really makes the colours pop in a pleasant way:

    If you like this kind of grading, the Resolve FUJI LUT could be a good start.

    Xh2s Fuji lut resolve_1.7.4.jpg

  6. On 3/21/2023 at 7:14 PM, Django said:

    As I'm getting closer to pulling the trigger on a XH2S I'd just like to revisit the infamous chroma smoothing issues.

    How big of a deal do you guys think this is? Like in practice when does it really bother you? It seems to me its only really noticeable when shooting foliage from a distance. But unless you're a nature landscape shooter I don't think you'll run into glaring issues.

    In another thread someone just mentioned Fuji has the worst tonality and color separation. That and the over sharpening.

    My reply was this is due to X-Trans. No AA filter and the chroma smoothing issues mentioned here.

    But the upside is more detail and a much more filmic-like grain at high ISO due to less chroma noise.

    I mean we tend to focus on the cons of X-Trans but there are pros as well, Fuji aren't crazy and stick with it for a reason.

    That being said my main gripe is with the red channel. Reds are often pinkish, you can see it right there in the thumbnail below if you compare the red square to the ProRes RAW. The red is missing richness and has some pinkish hue:

    Is there any solution for that? Like any color correction or LUT that fixes the red channel?

    About the chroma smoothing issue, my only problem with the XT4, was that at a certain distance, on a face, the teeth and the white of the eyes tend to take the color of the skin, as Attila Bakos showed on his example with the red bricks joint. With the XH2S in ProRes HQ, it looks much better. And the Flog2 is absolutely amazing. Currently Flog2 isn't in Resolve so I'm using a CST with Gamut REC 2020 and Gamma :  ArriLogC (because the gamma curve of ArriLog C and Flog2 is almost identical, but not the color space)

    I had tried to tinker with a node in Resolve that acts only on the red channel to fix the chroma smoothing issue but no really interesting result. 

    xh2s prores HQ_1.7.2.jpg

    XT4 H265 400_1.38.3.jpg

  7. 7 hours ago, Attila Bakos said:

    And if you record in UHD 24p, internal H.265 has actually more bitrate than ProRes HQ (720Mbps vs 707Mbps). I tested it, H.265 actually looks better due to more efficient compression.

    Yes for 4K the bitrate are very similar (I am around 780Mbps for ProRes HQ in 4KDCI) But for 6,2K I have a bitrate of around 2300 Mbps with ProRes HQ. This is really different from the 720 Mbps of H265

    (Angelbirds SE 512GB cards are very good at a reasonable price, I got some around 180 euros)



  8. 22 hours ago, Attila Bakos said:

    Summary of my findings so far:


    Thank you for this test. I would have preferred to see ProRes HQ instead of H265. Did you delog the Flog2 with Fuji LUTs ?

  9. 44 minutes ago, TomTheDP said:

    Interesting, what about for HD or 24p 4k?

    I don't know. For my short fiction work, now I don't think I'll ever go over the threshold of overheating. I'm very happy with this update. 

  10. 1 hour ago, newfoundmass said:

    Give me better ibis and no recording limits/overheating over 8K please. 

    Do you know on the XT4 with the latest firmware update, you can choose the threshold of the overheating auto-off protection? It is now possible to record at least 40 minutes ; 4K 60p H265 10bit.
    Watch this video at 2'50 and 4'01mn


  11. 5 hours ago, CyclingBen said:

    Thanks for your responses.  After some testing I realized that it is only before hitting record.  After that it goes to the correct ISO.  Really weird, I checked the DR and Flog settings and both were at 100 and off respectively.  Maybe it's a "Live view" setting.  At any rate if it records correctly then I'm confident using it in Auto ISO.

    Exposure compensation  is set to 0?

  12. You can read this, on this page


    Fuji (Fujifilm)

    Fuji has currently three types of wired shutter release connectors.

    2.5mm Jack Plug

    Some of the Fujis have the standard 2.5mm jack socket to connect the microphone. This socket also serves as a shutter release socket. The wiring is compatible with Canon and Pentax (see above) and cheap remotes designed for these brands can be used. 

    So the fuji remote control works like the RS60-E3 cannon remote control.

    And you can read this on this page


    When the button on the remote control is pushed half way, contact section 1 and 2 are shorted together, causing the camera to focus. When the button on the remote control is pushed all the way, all three contact sections are shorted together, causing the camera shutter to be released. Pin 1 is actually the ground connector. Therefore, it's pin 1 and pin 3 that causes the camera to trigger.

    1 - ground

    2 - focus

    3 - shutter

    When you build your own camera interface, you can split the auto-focus and shutter release function by using two switches or use two independent circuits.


    Now I think I have everything I need. I will try to build my trigger button this weekend. I will use wire 1 and 3 on the momentary button and hide and protect wire 2. 

  13. Thanks Jay60p for the answer, but I think the diagram is more like the one I corrected. Just thinking about how the stereo audio is connected. I think I'll try to connect only 1 and 3 on the momentary button and I won't use 2. Just to trigger the rec. but I'll continue to do some internet research first.  


  14. Thank you Jay60p for your contributions. I would also like to try to tinker  a shutter release for my XT4 but I would just like to use the Vello remote cable and a momentary button like in the following video at 11mm50. But I have three cables on a side and two slots on the button on the other. And I don't know how to do ?



  15. About flare. I find that they resist very well for the lights in front of lens, which are in the frame. For the side lights, just at the edge of the frame, but out of the frame, it's no less good. You can lose contrast very quickly. I have the tilta mattebox on the lens, outside. 

  16. I have the 25, 35 and 50mm of this Meike cine lenses. The only downside is the lack of focal length wider than 25mm for X-mount. An optic around 18mm would be really the best.

    Otherwise, it's good and really good : Long focus throw / Focus ring is very smooth / No focus breathing/  10 pieces blade /Incredible optical quality / An incredible manufacturing quality (I haven't seen a single dust inside my 3 optics) / All is metal.

    The 35mm is the focal length I use the most because it's the basic focal length on an APSC sensor. 


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