BrunoCH

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.

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.

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. 

1 hour ago, Daniel Robben said:

Update: there is something, but I am not sure anymore that it effectively gives more details, just more noise going to appear that fits more consistent with what to expect at such medium-high ISO

It's possible that the noise is like dithering.

https://en.wikipedia.org/wiki/Dither

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)

https://www.angelbird.com/prod/av-pro-cfexpress-se-type-b-2919/?category=238

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 ?

On 2/8/2023 at 4:14 PM, Django said:

Would love to find some XH2S ProRes footage to test grade..

Some test rushes. 3s trim copy of original media. ProRes HQ; Flog2

https://drive.google.com/drive/folders/1boq6yfg8TDli4c84tcyyfgUlny40fiEL?usp=share_link

The full specifications are published
https://www.tascam.eu/fr/ca-xlr2d

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. 

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

One last thing for the XT4. With the latest firmware update, it is possible to choose a high threshold for AUTO POWER OFF TEMP. This seems to allow long recording time. 

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?

DR400  limits ISO to 640 too.

You can read this, on this page

https://www.doc-diy.net/photo/remote_pinout/

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

http://www.camerahacker.com/RS60-E3_pin-out/pin-out.php

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. 

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.  

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 ?

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. 

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. 

Nobody here owns the Portkeys LEYE EVF?
I would like to know if it is possible to make easily focus with this EVF.

On 10/5/2020 at 8:46 PM, Mark Romero 2 said:

Is there really a big difference in "gradeability" between the 4:2:0 10-bit internal footage and the 4:2:2 10-bit external footage on an X-T3?

Because I shoot primarily real estate and deal with mixed lighting (and can't set up lights), I often have to color correct a lot.

Would shooting in 4:2:0 (which is the chroma level in 4K 60p internally) really hamper my ability to color correct (as opposed to 4:2:2)?

Thanks in advance.

There is no difference in "gradeability" between 420 and 422.  The big difference about "gradeability" is 10bits vs 8 bits. F-log is better too. ProRes is better than H265 for hardware but it's another question. 

I tried one more time today

2 minutes ago, stefanocps said:

in manual focus i see the rig only on tripod. I want use the rig also in my hand for little movement or run and gun like situation. That way side and top handles are both useful, and both of them will require autofocus, what do you think?

It's very complicated to move the camera by hand with a light rig and to make the focus easily.

1 minute ago, stefanocps said:

that's right, also with top handle should not be easy no? actually when i think at two sie handle i think at a autofocus shot, 

With autofocus, two handles side should be a good solution.

Not easy. This is the best I can do.