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BrunoCH

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Everything posted by BrunoCH

  1. There is no a specific F-log gamut in Resolve because FUJI choose to use the REC2020 for the gamut of F-Log. In Resolve 16.1 you can find a specific F-log gamma and with the REC2020 gamut, you get all you need, for use F-log in RCM.
  2. There is no good answer. For my part I love F-log and I only use it. On set I have a swit monitor to correctly expose the log with waveform and to correctly view my picture with LUTs. Colorgrading is so simple with Resolve 16.1. You just need to say to resolve that it’s F-log (with rcm or with a color space transform node). And it's done, you get a beautiful picture. Just need some adjustments ( WB contrast expo).
  3. You’re absolutely right. Too pinkish and greenish. I worked too fast. I just wanted a quick test with 16.1 final release. Now I’m editing this short. In a few weeks, I’ll work seriously on color grading.
  4. Quick test with Resolve final version 16.1. Flog, H265, 400mbps, delog with a node colorspace transform and some adjustments.
  5. 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!
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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
  11. 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.
  12. 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.
  13. @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.
  14. 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.
  15. 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.
  16. @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.
  17. 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
  18. 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.
  19. A $ 10,000 GFX100V? 3882 is enough for 4KUHD not for 4KDCI. What’s this solution? A binning picture with moiré and aliasing at 444 color resolution?
  20. Pro recorder doesn't -10db safety tracks (only copy backup). It's really not necessary with good preamps. You can check the quality of mixpre series preamps and limiter here : https://www.youtube.com/watch?v=y34zANsXV5U https://www.youtube.com/watch?v=s-7gUUaXuY0
  21. - feature 4 ("All the tracks must have a safety backup track recorded to tot. -db to prevent clipping") is absolutely useless with good preamps and an analog limiter like on MixPre series. - All features with MixPre 10T - Only 4 preamps with MixPre 6 and limited timecode support. - For feature 3 : A ambisonic plugin for MixPre 6 and 10T https://www.sounddevices.com/product/ambisonics-plugin/ - For feature 7, you need some wireless audio monitoring system like comtek.
  22. Here is a music video shot for the musicbed challenge. On this project my assistant is the director and I help her. Shot on my XT3; F-log, 4K DCI, 24fps, 400 Mbps, All-I. https://challenge.musicbed.com/submissions/the-rise/rHvFZz
  23. Matthew Libatique is the director and the DOP of this short. I’m not sure is a great director but a great DOP, yes. Serious team for grading . Fuji says about this short : « A Different Beyond” was lensed with FUJIFILM/FUJINON MKX cinema zoom lenses, FUJINON Premiere PL Cabrio zooms, and Zeiss Super Speed PL-mount primes in order to show the feasibility of using varied professional optics with the new FUJIFILM X-Trans 4 sensor. Most of the movie was recorded into the Fujifilm Log (“F-Log”) Rec2020 color space, both to internal SD cards and Atomos Ninja Inferno devices, and then professionally color graded. However, several of the scenes were recorded using FUJIFILM Film Simulations directly (ETERNA, Velvia and CLASSIC CHROME) to show their suitability for projects that don’t have time or budget for color grading. « You can dislike the grad but I think it is a serious work.
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