BrunoCH

7 hours ago, Geoff CB said:

Sometimes you have to properly shim the lens to get the parfocal ability.

Honestly was pretty impressed by your tests, yes it's not razor sharp but it has a nice clean look and it's lack of contrast can be a good thing.

I know but I can’t properly shim the lens or I don’t know how I can.

I use a cheap Nikon mount adapter to Fuji X. It’s all metal and well build and no play but maybe it isn’t precise enough about focal flange.

Me too I impressed by my test and I’m sure I’ll use it on some projects.

16 minutes ago, mercer said:

I've often wondered about this lens, so I was happy to see your post. Your samples look great. Were you focusing as you were zooming because it looked like it held focus pretty well? Did you shoot this with one of the Fuji's film simulations, or did you grade this? Either way, the color looks nice!

I was wrong it is parfocal. I just found the manual in pdf. But honestly when you focus something near you (about 2 m) there is a small focus shift when you zoom.

I filmed in F-Log. DeLog with Color space transform node in Resolve without LUT. Correction expo and WB and I added a bit of contrast and saturation. 😊

http://allphotolenses.com/pdf/c_18/p_3.html

When looking for a zoom for my XT3, I discovered the existence of a 25-50mm nikkor AI. Originally, it was a wide zoom for 24x36mm which went from the standard focal to a wide angle. On the XT3’ sensor, it is a zoom very well centered on the standard focal, a bit like an 18-55 but with a narrower range.

I found a copy in very good condition on Ebay for 105 $ + 24 $ shipping.

I received it yesterday morning and I did a few quick tests in the afternoon.

Pros :

Optical quality and build contruction

Price

All manual with 3 rings: aperture, zoom, focus.

Cons :

Maximum aperture at F4 (too soft, it must be opened at 5.6 at least to have the full quality of this lens)

Not Parfocal. The focus moves when you change the focal length.

I chose the AI version because focus throw AI version 130° vs 75° AIS version.

If you want to view some boring  crapy shots.

password: nikkor2550

https://vimeo.com/397291419?activityReferer=1

1 hour ago, Jay60p said:

Let us know if you find a wider APS-C zoom that can be used with a simple adapter on the Fuji (no by-wire focusing, and with aperture control).

No hope on the side of old lenses all designed for the 24x36mm. Maybe a company like Meike (when I see the quality of their cine lenses) could release a cine zoom

18-55 mm

T 2.9 constant

parfocal

10 blades iris

a focus throw > 200 degrees

APS-C (mounts : M4 / 3, FujiX, SonyE)

Around 1500 dollars.

Or Sirui by an indigogo campaign.

Maybe we could suggest them. An email isn’t expensive. A daydream isn’t expensive too.

3 hours ago, Jay60p said:

For the low budget videographers among us: a ZOOM LENS report.

On the X-T3 the Fuji zooms have problems with video shooting, including exposure stepping

and focus-by-wire jumpyness that is not a problem with stills.

So I thought I'd report on a recent Nikon zoom I found to work around these issues.
 

The Nikkor AF 28-85 f3.5-4.5 (1986-1999) is a great manual zoom/manual aperture ring

lens to use on the X-T3. It is extremely affordable, I picked up a clean one in a local camera

shop for $50, and mounted it with the $20 fotodiox adapter. It is a full frame SLR lens.

 

It is PARFOCAL, the focus does not stray as you zoom in & out.

I found the change in brightness as you zoom to be often unnoticeable unless you are watching

for it, this really surprised me. f3.5 to 4.5 is less than a stop of change, about 2/3rds of a stop?

 

And most important, the zoom ring is smooth. Often these Nikon zooms are slightly sticky,

especially when trying to turn the zoom ring very slowly for a cinematic shot.

The focus ring has a good amount of smooth travel for easy manual focus.

 

Finally, the sharpness of this lens is excellent, compares to the 18-55 fuji kit lens.

With some pixel peeping I can see a little CA color fringing at the edges, which you

would expect for a vintage lens without in-camera digital corrections.

There is a glowing review of this lens by Ken Rockwell online.

 

I have another Nikon zoom which is not usable (24-85mm F2.8-4) from 2001,

due to a sticky zoom ring, plus a manual focus ring which has a very short travel and is

difficult for fine focusing at distances nearing infinity.

Some zooms may have become sticky over years of continous use,

keep in mind when looking in ebay etc.

 

Vintage SLR zooms are often very parfocal, I also have two Canon FD zooms that

hold focus as well, 35-70 f4 and 70-210 f4. I used the 35-70 for 30 years on my SLR

and the zoom ring is still smooth.

 

So for $70 you can get an excellent Nikkor 3:1 full frame zoom, especially if you don't have

$3000-4000 for an excellent Fujinon 3:1 Cinema zoom.

I am posting here rather than in the LENS forum because the Sony & Panasonic camera zooms

may not have the same issues as Fuji.

Thank you for sharing. But this 28-85 is centered on a basic focal at 50mm for 24x36mm (full frame). I don't have a zoom but only fixed focal lengths. On my shorts I think I use

35mm for 5/10 shots (basic focal length in APS-C)

24mm or 20mm for 4/10 shots

50mm for 1/10 shots

I could use an 18-55 instead of these three fixed focal lengths. But a 28-85 would be too off range for me.

On 3/1/2020 at 12:29 AM, Oliver Daniel said:

So my Fujifilm contact is going to provide a loan unit to use on a commercial production. 

What Fuji lenses are the most appropriate for video? Read that a lot of them aren’t so smooth for manual focus. 

This two Meike cine lenses are fine. Manual focus is very precise with a 270 ° focus throw and with a very smooth  feeling.

https://meikeglobal.com/collections/meike-cine-lens/products/presale-meike-t2-2-cine-lens-for-fujifilm-x-mount-mk-35mm-t2-2-with-aps-c

https://meikeglobal.com/collections/meike-cine-lens/products/meike-25mm-t2-2-large-aperture-manual-focus-prime-low-distortion-mini-cine-lens-compatible-with-fujifilm-x-mount-cameras-x-h1-x-t3-x-t20-x-t10-x-t2-x-pro2-x-e3-x-t1-x-a2-t100-x-e1-x30-x70-x-m1-x-a1

First shot with my new Meike cine lenses (25 and 35mm). It's just a sequence for an actress demo reel. Really satisfied with these new lenses.

Pros :

- great color rendition and contrast.

- almost no focus breathing.

- long focus throw

- the aperture ring is not linear (exposure adjustment is much easier and precise)

- build all metal

- price

Cons :

- 25mm is the widest focal length for X mount. (12 and 16mm cover only MFT sensor)

- 50mm and 65mm will be released later, but doesn’t yet exist in X mount.

- very sensitive to side flare.

The wide shot with the 25mm

Close shots with the 35 mm + black promist 1/4 filter

2000 ISO

@kye

Thanks for the comment. It’s a father daughter story. The man is a filmmaker kind of no crew no money, nothing.

@heart0less

Thanks for the comment. Editing is finish. Color grading will be ok in a week, I think. But I need time for sound and music. I  almost understand english but I can’t easily write and speak. It's too long and hard to share what I do.

I am color grading my last short film. What do you think of this pictures ?  

If you want to try something.you can get a trim copy (a few secondes) of original F-Log with this link :

https://we.tl/t-LofgsAXmnn

1 hour ago, androidlad said:

4K supersampled from 6K/5K and 6K encoded as 6144x4096, 6144x3240, 6144x2592, 5760x3240

I hope these new 6k will be in H265 10bits All-I around 500 Mbps.

2 hours ago, androidlad said:

Expect:

6K 60P in 2.4:1 crop

XT3's sensor is 6240x4160 pixels. Does that mean 6240x2600 h265 10bit ?

(sorry for posting twice)

1 hour ago, androidlad said:

Expect:

ISO 64

Really or extend ? What does that mean for F log ? F-log at ISO 400 ?

51 minutes ago, keessie65 said:

will XT-4 have the new Samsung/Fuji sensor?

 

The OPF sensor with real ISO adjustment (not amplifier gain) ? 

We can dream but I think it’s not now. 

I use USB-C powering with an Anker PowerCore Speed 20000 USB-C. I add a SMALLRIG Mini Cheese Plate 1598 to the Anker with gaffer. And I attach this on the Mixpre 3 with the 3/4 screw integrated. For me everything works fine.

5 hours ago, Papiskokuji said:

Hi guys !

I just downloaded the latest Resolve version to test out their interpretation of f-log. But I can't find some kind of "f-gamut" in Da Vinci input color space tab. I just have f-log in the gamma input/output. Am I missing something ? Because the gamma maping is nice to have but the most important part of the task is putting back f-log colors into a manageable color space like rec709. Whereas I can deal with a flat gamma myself, adjusting just a curve.

I can put "V-gamut" instead or another one close to f-log colors, but I thought there would have been a specific fuji tab.

Did you guys try this latest version ? I think someone posted a screenshot of color graded f-log footage without using fuji's LUTs.

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. 

1 hour ago, wolf33d said:

I am gonna use a XT3 for 2 weeks, 100% in 4K60P. What is the best profile for 4K60P on the Fuji: FLOG/HLG/ETERNA?

On the A7III I hate the S-Log which is a pain when filming and a pain when grading and gives worst results than using Cine4. I am looking for something decently flat that I can grade quickly to match other cameras, but not a pain to work with like S-log. 

Thanks 

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).

11 hours ago, heart0less said:

I like the overall tonality and ambience, but the talent's skin looks a bit off to me. 

It's a bit pale and at the same time too pinky / magentish / reddish (especially her nose). 

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.

Quick test with Resolve final version 16.1. Flog, H265,  400mbps, delog with a node colorspace transform and some adjustments. 

On 10/16/2019 at 2:49 AM, EphraimP said:

I appreciated your warning this weekend. I tested it out and didn't lose any clips, so I used it on my weekend shoot. Definitely didn't lose footage, but it didn't keep my X-T3 powered for the whole shoot so I had to switch to my handheld rig with a v-mount battery. I do have an Anker power bank I've used with it before. Seems kind of clunky to gaff it to the gimbal though.

 

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!

1 hour ago, EphraimP said:

Thanks for the tip, androidland. That's too bad. I thought they'd added support for the S. It would have made sense to get the SC if I was buying new, but I've had the S for a while and was hoping to get that feature. I guess it's back to the wonky solution triggering record from on top of the camera. At least I figured out how to power the camera with the rss usb cable that came with my Ronin. It's a pretty annoying work-around, but here's a link to a video explaining how to do it (using the SC as the gimbal) that I found on YouTube. Explanation starts at 8:34: 

 

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.

2 hours ago, stefanocps said:

how it is the wotkflow when working in dci?any special?

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

13 hours ago, andrew_dotdot said:

. Does that mean that the Fuji LUTs are no longer useable if working using the RCM with F-Log workflow?

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