BrunoCH

1 hour ago, androidlad said:

Discovered something very peculiar today:

Shot some internal FHD 120P H.265 clips in HLG, imported into Premiere Pro 13.1.2 and it automatically applied a gamut mapping (BT.2020 to BT.709), gamma was left untouched so no blown out highlights and such, just the gamut was mapped (more saturated colours). Can't seem to disable this gamut mapping...

FHD 120p is necessarily conformed in a « normal frame rate » into XT3 . Maybe during this conformation there is a mistake (bug) and file tagged in rec709. Something around this.

Discovered this test two weeks ago and it’s definitely very interesting.
It's in Russian; you have to watch with Chrome and autotranslation (good enough for understanding).

https://www.ixbt.com/dv/fujifilm-xt-3-cinema-review.html

1 hour ago, androidlad said:

DR400 is a 2 stop push from ISO160, that's why it starts with ISO640.

DR200 1 stop push from ISO160.

So it’s just a exposure compensation ?

If it's a knee adjustment, I understand fuji's explanations better. ( and the ! About mottling)

@webrunner5  thanks for these explanations. 

It seems like
DR400 is a soft knee

DR100 a hard knee
and DR200, between both.

I don’t know if it's true, but  seems like with the quick tests I did. I have to do other tests.

26 minutes ago, androidlad said:

It's not like that.

DR100 film simulations let you use base ISO160, this is the native ISO with a video gamma that limits dynamic range, but ProNeg Std is the flattest of all film simulations.

DR400 film simulations start at ISO640 and behave similarly to F-log, which actually expose at ISO160 and push shadow 2 stops. DR400 film simulations have similar DR with F-log (minor difference in roll-off), especially with highlights/shadow set to -2.

We do not have the same interpretation of fuji parameters. I still need to do some tests. But the parameters DR100, 200, 400 would be three simplified values of the knee correction fonction (you can not choose the knee point and the knee slope) on video camera and only concerns highlights.
Eterna is the flattest simulation film.
640 is the native ISO.
That's just what I believe. Anyway Fuji does not give info.

6 hours ago, andrew_dotdot said:

Cruious about anyone’s tips for working with Pro-Neg Std!

I think it's not a good idea to use Pro-Neg standart. The actual sensitivity is 640 ISO. All the values below are a software negative gain (decrease  highlights). In LOG you get 2 more stops in  dynamic range than  all the other film simulation profiles.

On 4/15/2019 at 2:29 PM, androidlad said:

@BrunoCH New firmware for CM-55C released.

Copy these two files to the root directory in a FAT32 formatted SD card, turn on unit and follow instructions.

JTH5501_UN108v01.bin 8 MB · 4 downloads JTH5500_UN108v01.bin 3.08 MB · 5 downloads

Done! Thanks!

5 hours ago, androidlad said:

@BrunoCH New firmware for CM-55C released.

Copy these two files to the root directory in a FAT32 formatted SD card, turn on unit and follow instructions.

JTH5501_UN108v01.bin 8 MB · 0 downloads JTH5500_UN108v01.bin 3.08 MB · 0 downloads

Thank you very much for that. Unfortunately I’m not at home and I can’t update until April 23rd (I just have an ipad with me). I hope the download links will still be valid.

9 hours ago, Anaconda_ said:

What's the best way to sync audio to multiple clips in Resolve?

I've been manually matching sounds and waveforms clapperboard style, but wonder if there's a Premiere/Pluraleyes type 'Sync' button? I can't seem to find it anywhere and wonder if I'm missing something.

 

Theoretically it's simple. Selects in the mediapool clips and sound files and right click and Auto Sync Audio (and choose TC ou waveform)
But this function is almost unusable because the result is so bad. I think you need to use Plural Eyes with Resolve for pro workflow. 

For audio, the canare cables are  very good quality. On this site, for my boom pole, I had a custom cable made with Canare L-2E5. Fine and light but strong and very good quality.

https://www.audiosense.be/en/brands/canare/canare-microphone-cable-mono-xlr3.html

1 hour ago, Dave Del Real said:

I really like Resolve 15, looking forward to 16. I would completely switch over if I could get my exports to look like what I see in my viewer (can't afford a calibrated monitor). How do you guys work around that?

On mac the problem no longer exists.

Enhancement list of version 15.2.3 :

"Improved color consistency with QuickTime player on MacOS when display color profiles is enabled"

I tried and it's ok, now it works.

If you check (in prefence general system) « Use mac display color profiles for viewers » the final export seen in QT is the same as seen in the Resolve viewer.

2 hours ago, persol said:

I tried everything mentioned here to get the LUTs onto my SWIT CM55-C but no success. It always says "No Device" after choosing "Load LUT File -> User LUT".

I tried formatting the card on my mac and also in the X-T3 camera, also different LUTs. Any more ideas?

It seems that the swit only accepts 3x17 LUTs on a  FAT 32 card. I think the recent Macs and the Xt3 format the cards in FAT 64. I got the success with a card formatted on my old nikon D5200 (I am sure it’s FAT 32 on this camera)

1 hour ago, Stathman said:

I did! I would like them to add white balance and focal length info if possible.

On this clip WB was set to auto but if it is set to Kelvin it shows just "K" and not the actual value.

I sent them a request.

You need to sent a request to Fuji. You get K on your XT3. 

1 hour ago, androidlad said:

Because you locked the WB, magenta was added to HLG. The camera applies the same WB setting to all picture profiles.

If you don't use auto WB and make sure WB shift is 0, there's no magenta at all.

Please do another more controlled test with everything manual, then make your conclusions.

I redid a test more simple. All in manual. WB 5300K shift 0. I did not make your exposure optimized for the HLG but simply expose for that gray chart is at the same level on the log and on the HLG in waveform. There is only 1 stop difference (for the previous test I noted on a paper F4 and F8 but possibly I had to switch them)
The problem I'm talking about is that there are some kinds of magenta stains on the blue bag and the black sunhood. In final cut I put the LUT WBR on the log and  LUT gamut2020 to 709 on HLG. It is not your optimised workflow but it is a correct workflow, I think.
I see these kinds of magenta stains on both, Log and HLG (save a frame of both in FCPX)
Original file here :

https://we.tl/t-APn94Ttz7P

EDIT : I add an iphone photo of the scene. There are also magenta spots on the sunshade, but the blue bag is cleaner.

29 minutes ago, androidlad said:

It changes everything.

In auto WB, the camera adds more magenta to HLG.

In manual WB, with WB shift at 0, F-log still has some magenta while HLG truely has 0.

By the way, the opposite of magenta is green, not blue.

I lock the AWB. it's the same WB between the two takes. You're right the opposite of magenta is green.

I will do it again later. I have a lot of trouble explaining myself in English. It's too long. There is a small problem with magenta and Fuji. The XT3 pictures are absolutely beautiful. For me the problem is still there with the HLG.

6 minutes ago, androidlad said:

The LUT is properly gamma and gamut mapped Alexa 709.

This way you get better DR distribution than F-log. F-log throws away 0-90 in the 10bit range and has banding/blocking issue as well as magenta cast.

Ok I understand. 

9 minutes ago, androidlad said:

You used auto WB, with manual kelvin and tint adjustment the magenta hue is completely absent. See my original post.

When I have time I will start again with a manual WB on the gray card. But I think that does not change anything. You hide the problem by removing magenta and putting more blue on your WB. But the problem will always be there.

44 minutes ago, androidlad said:

I shoot HLG strict with external monitor/recorder and load the BT.2100 to Alexa LUT to preview and assist in exposing correctly.

So with a LUT you turn the gamma HLG into a gamma LOG (for monitoring and expose and after for grading)
Did I understand right?
In this case it is easier to use the Fuji LOG directly. No ?
Because the advantage of the HLG that would not have a problem with the magenta hue, I don't see it on my test.

1 hour ago, androidlad said:

I noticed that WB was set to auto for both shots, so we don't really know what kelvin and tint the camera decided to use.

Yes you are right. I don't know exactly the WB. But I use the AWB lock. I did not unlock between the two takes. Normally it is exactly the same balance between the Log and the HLG.

1 hour ago, androidlad said:

Are you sure F-log was f/4 and HLG was f/8? Because when applying F-log/BT.2100 to Alexa LUT, HLG shot still looks very overexposed. It's really important to expose HLG correctly because it maps 18% grey at a low 22IRE.

I use a samyang with an aperture ring de-clicked. I'm sure it's around F4 for the log and around F8 for the HLG.
I exposed the log and the HLG with the waveform of my SWIT 55.

On the screen of my imac, the HLG seems pretty well exposed (on QT and FCPX with Lut) EDIT: Add iPhone photo on my XT3

2 hours ago, androidlad said:

What bitrate did you use? And LUTs? If you used Premiere/Resolve, did you apply the colour shift correction on F-log footage?

If you shot at base ISO 640/1000, the difference should be 2/3 stop, not 2 full stop.

HLG does have a cooler WB across the board.

400Mbps, All I.

I used FCPX with fuji LUTs. WDRlut for Log and Gamut2020to709 for HLG.

Do you want to take a look at the original rushes (copy trimmed)?

https://we.tl/t-wqemKN1N2c

I did my own test HLG vs LOG. There is indeed a small problem with the magenta hue. But for me the problem is also present with the HLG. Download the attached video and play frame by frame and watch carefully the blue bag and sunhood on it .

Exactly the same shooting conditions, same settings, except 2 F-stop difference : f4 Log vs f8 HLG.

I find that the white balance is very difficult to do on the HLG. WB is correct on the gray card but not on the back white wall.

What do you think about that?

https://drive.google.com/file/d/1eCzHpgHrqgmM3ycrpvbauLu-p2vHd3Sd/view?usp=sharing

https://drive.google.com/file/d/17kyJwgaZdMR7q9fk7fotJofSPcepYxJx/view?usp=sharing

2 minutes ago, Grégory LEROY said:

Yes I did it, I spent a lot of time on this issue,  I've experimented all kind of config, I'm visiting fujifilm next week. 

Ok! I hope Fuji will find a solution.

6 minutes ago, DanielVranic said:

I thought that was changed with a firmware update?

 

Nope. You can now record H264 in 400Mbps but it's stil 8 bits.

34 minutes ago, Grégory LEROY said:

It works fine directly in XT3 but not with a preamp. 

Then the input in XT3 works fine. It"s an input mic. There is a mic preamp in the XT3 (not good preamp but it's a DSLR). If you plug a preamp in the XT3, you get a chain of 2 preamp. The problem is probably there. 

Can you try this with your saramonic plug in your XT3

In movie setting/audio setting/external mic level adjustment/Manual / -30dB . The pulse is still here ?

And try same thing but adjustment OFF. 

5 minutes ago, thephoenix said:

 

i shot 23.976 because in my mind it is the "standard" for movies

 

24 

+1 KnightsFan

22 minutes ago, thephoenix said:

is it normal to have my rushes h264 59.94fps in 8 bit ? resolve tells me it is 8 bit depth

for the h265 it is 10 bit

If you want 10 bits internal, you need to record H265.