BrunoCH

8 minutes ago, Geoff CB said:

Kinda drives me crazy that Fuji is supported in RCM but not in color space transform. 

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. 

On 9/14/2019 at 5:10 PM, Geoff CB said:

 

Advantages of XT-3
Lighter Body and Lenses
In camera LOG
True 24 fps, 2048x1080, 1/48 shutter
Auto WB is spot on in every situation I throw at it.
Great audio preamps.

 

What do you guys think?
 

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.

@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.

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.

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.

@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.

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

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.

4 hours ago, androidlad said:

As you may be aware, Fujifilm has registered three new cameras:

FF190001

FF190002 – X-Pro3

FF190003

One of them is a 44 x 33 large format video centric camera with 4K x 3K RGB output.

 

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? 

27 minutes ago, Martin Kuipers said:

Hi xt3 owners. I have a small hd 502 monitor that only accepts 1080p input over hdmi. Can the xt3 output 1080p Flog and record in 4k Flog at the same time? 

15 minutes ago, Dan Wake said:

thx, do you mean that the MixPre 10T can't make safety backup tracks? For my experience with limiters on the recorder I used I can notice when the limiter is pushin in. but with a safety track is all another story. I really wish to hear an example urgh

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

5 hours ago, Dan Wake said:

Hello,

 

I need to buy a new audio recorder can you suggest something with those features please?

 

1) It’s important I can custom names the files before starting recording, for example the name of the ciak scene, I mean all the info useful for people which will make the post production

2) I need to record 5 tracks with phantom power

3) I need full support for ambisonic audio

4) All the tracks must have a safety backup track recorded to tot. -db to prevent clipping

5) Very good low noise levels, way much better than another model I already own called Zoom H6 but is not enough. The new one must be so good that I can record room tones (I really need to record good quality room tones for work also).

6) Full timecode support

7) I need to send an audio monitor wireless to the script clerk

Low battery consume or offering good solutions for it

 

I prefere a recent model if possible

 

Thx!!!

- 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.

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

12 hours ago, webrunner5 said:

... it was a piss poor bit of grading on their part. Just plain flat lazy to be be honest. Probably just used a LuT for the whole thing and left it at that. I guess YMWV

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. 

XT3 for 10bits internal. You can add stabilisation with gimbal, steadycam, tripod... You can never add 10bits on the XH1.

19 hours ago, thephoenix said:

ok, but i never found a clear workflow for rcm. and the more i read the more i get confused.

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)

15 hours ago, thephoenix said:

same here.

for flog i am loading the fuji flog to rec709 lut in rcm so rcm should still be working.

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. 

3 hours ago, Attila Bakos said:

For what exactly do we need more accuracy? We know all about F-Log, all the info is there in the data sheet provided by Fujifilm.

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 minutes ago, Attila Bakos said:

Fuji log uses 95-1023, because of the gamma curve. That's still a wider range than video range (64-940).

10 minutes ago, androidlad said:

Strictly speaking it's full range 0-1023. But Fuji encodes nothing between 0-95.

The most accurate way will be when Resolve will have an F-log preset for rushes.

7 minutes ago, Attila Bakos said:

This is a bit oversimplified, a lot of cameras use the full range in their video files. Fuji is one of them.

I think fuji log use full range into the limit of video range (Panasonic log don't use full range into video range) 

1 hour ago, thephoenix said:

ok. can you tell me more about full data level and why is it not set to full by default ?

just discovered that it was set to auto and when setting to full then image changes and seems to be flatter than without (flog)

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.

On 5/21/2019 at 8:56 PM, timondeks said:

Thanks for the samples and LUTS. Re: Workflow (Apologies if this has been asked before) When using 'Davinci YRGB Color managed' in the Color Management tab in Resolve which version of rec.2020 should be selected for 'Input Color Space' (to match the X-T3's HLG)? There's a few different options:

Rec.2020 (Scene)
Rec.2020 Gamma 2.4
Rec.2020 ARIB STD-B67

Or would you recommend using the 'Color Space Transform' FX node instead?

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

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.

7 hours ago, androidlad said:

Yes it happens to all HLG FHD materials, but not 4K.

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)

13 minutes ago, androidlad said:

The metadata is BT.2020/HLG. I think it's Premiere/Windows 10 doing the SDR conversion.

If it's Premiere/Windows, you have to get the same gamut mapping with a « normal » FHD HLG.