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Everything posted by BrunoCH

  1. 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.
  2. 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.
  3. @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.
  4. 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.
  5. 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.
  6. @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.
  7. 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
  8. 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.
  9. 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?
  10. 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
  11. - 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.
  12. 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
  13. 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.
  14. XT3 for 10bits internal. You can add stabilisation with gimbal, steadycam, tripod... You can never add 10bits on the XH1.
  15. I hope that in the final version of resolve 16, there will be a F-log preset in the input color space. Now, you have to tinker. A possible solution, in the RCM input color space, I choose ArriLogC (this log is very close to F-log) and I add an OFX gamut mapping (tone mapping simple method) and I get a good starting point for grading, without LUT. On stills, you can compare this method to a delog with the LUT WDR Fuji. (the green on the pullover is more accurate with ArrilogC)
  16. No it shouldn't for input. Still works for output. RCM works without LUT. If you load a LUT in project setting, it's something like you add, automatically, on all your clips, a first hide node with this LUT.
  17. In Resolve I want to use RCM without LUT. Now I have to choose for the input colorspace REC2020 scene (gamma around 1.9) or REC2020 gamma 2.4. Both are correct for gammut but the two gammas are neither completely wrong nor completely right. We know the conversion formula in Fuji data sheet but I can’t write this formula in Resolve. Same thing for the data levels. But I think it's more easy to compensate for not very accurate data levels than to correct the gamma.
  18. The most accurate way will be when Resolve will have an F-log preset for rushes.
  19. I think fuji log use full range into the limit of video range (Panasonic log don't use full range into video range)
  20. Full data is about still photo, like jpg dpx etc (image sequence); RGB file. Video level is about video file like prores dnx etc; YCbCr file. With auto, resolve make choice between both.
  21. The Input color space is the camera color space : Rec.2020 (Scene) for F-log Rec.709 Gamma 2.4 for film simulations Rec.2020 ARIB STD-B67 for HLG
  22. Here's my shoulder rig. Sorry, I'm not a Vlogger : Only a bad video and some photos. It's not perfectly balanced but almost. Monitor Swit 55 and XT3 are powered by an Anker 26800. Its weight is on the back. No battery on the monitor(only 160g). Some DIY for the left hand. I can hold the handle and make focus with my fingers. It's not perfect, but with a little habit, it's pretty good. Shoulder_Rig.mp4
  23. Quick test on my mac. No difference on color (gamut) between FHD HLG and 4KDCI HLG in QuickTime and in FCPX. (my XT3 still on firmware 2.01)
  24. If it's Premiere/Windows, you have to get the same gamut mapping with a « normal » FHD HLG.
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