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Everything posted by BrunoCH

  1. In LUTCalc, I made a LUT : False color for XT-3. I choose 3D 17x17x17. I check this LUT in FCPX. It works fine. But I can’t load this LUT in my monitor SWIT 55C. Did anyone manage to do that?
  2. Normally you can get the info with VideoSpec or Mediainfo (free app).
  3. What is your NLE? I saw something like this ugly thing on the FCPX viewer, but the export fixes that. And this magenta Flog thing isn't on the export.
  4. On the SWIT website : “Standard HDMI-A input, supports: 3840×2160p (30 / 29.97 / 25 / 24 / 23.98) 1080p (60 / 59.94 / 50) 1080p (30 / 29.97 / 25 / 24 / 23.98) 1080i (60 / 59.94 / 50) 720p (60 / 59.94 / 50) 480i/ 576i / 480p / 576p “ What happens if you shoot on XT3 in 4K DCI or 2K DCI 24p? The monitor doesn’t work? There is a crop?
  5. Thank for this answer. That's what I thought.
  6. It's written on owner's manual page 196 : "HD framing can be customized using FUJIFILM Tether Shooting Plug-in PRO or Hyper-Utility Software HS-V5." Has anyone tried this? What does this mean exactly? We can customize in the XT3 or only in the app? And what customization? Is it possible to create framing guides for 2.35 or 4/3? @Snowbro : I would say the bottom photo is XT3.
  7. What do this mean? 6240x3510 video out of sensor downscale in 4K?
  8. For my part, the noise level difference 4K vs 2K isn’t so important to making me change workflow. Remember human perception is more sensitive to noise level change than noise itself when it is at a reasonable level. I don’t use ISO sensitivity as an exposure parameter (because the sensor only has one sensitivity actually). When I shoot, most of the time, I use two sensitivity (one for exteriors and one for interiors) to maintain a constant noise level. I use FCPX for editing and color grading. Thank you for these explanations. Do you have links to share? And for 4k so how's it going?
  9. I did a quick 2K vs 4K test. You can download "trimmed" copies into QT of the original files. Only the length changes from the originals. No transcoding. For the first two files (79 and 80) I wanted to compare moiré. But I didn't reproduce moiré (it is however the same pullover I've get moiré). Just a little bit of moiré above the bottom button on the 2K file. Nothing on the 4K. Not enough to conclude that there is less moire in 4K. I will try to repeat a test in another way. For files 82 and 83 I wanted to compare the noise. There is a little less noise on the 4K vs 2K in a 2K timeline in FCPX. All files are F-Log H265 10bits All-I, 400Mbps for 4k and 200Mbps for 2K. 79 and 80 : 680 ISO exposed to preserve the highlights. 82 and 83 : 3200 ISO exposed on the right. (82 and 83 are out of focus. It is very difficult to focus on a Log ETTR) https://drive.google.com/open?id=17e1c60bj81n8BQwoLP9xtQKKhCgOkC6a
  10. Your 2Ktiff is a 3840x2160 picture !?!
  11. On the file I shared above, the green of the pullover is not really accurate. But with 10 bits, there is so much latitude to correct.
  12. Me too I am curious to know. If I find the time, tomorrow or Saturday I do a test 2K vs 4K about moiré and noise. I'll share the file on google drive. About exposing F-log, when I shoot a scene with a low contrast (very compress signal), I expose to the right. When I shoot a scene with high contrast, I expose to preserve the highlights.
  13. The original file is here https://drive.google.com/file/d/1WrxAJs0NPvQ9jG5Sh5asBuxzfJjbC0j1/view?usp=sharing - For my work (fiction shorts) I don’t need and I don’t want 4K. It’s too sharp on close-up. You need to use expensive filter like black pro-mist and/or soften in post. - The 2K 200 Mbps is the best quality codec in the XT-3. (the equivalent in 4k should be 4x200=800Mbps) - I think sometime, I can shoot 4K for a 2K timeline, when I need to crop or stabilize in post. - I need to make more test for moiré. Theoretically there should be less moire in 4K. But the only shot I've seen moiré is this one on the green pullover.
  14. Yep ! https://vimeo.com/299173698 If you want I can send the file on google drive.
  15. You're right. I will test 4K for moiré. But for my work (short fiction) I don't need and I don't want 4K. Too much resolution and big file size.
  16. Some color grading to test the H265 10bits codec : Very strong codec (but a few moiré on the pullover). https://vimeo.com/299173698
  17. I make a DIY support for my Roland R26 and I adapted this for the Zoom H4n. You can free download the .stl, and made your own support. https://www.youmagine.com/designs/handheld-sound-recorder-support
  18. Nothing more. It's just different. I removed the pan bar and I pan and tilt directly with my two hands on the fig rig. I can switch very quickly between monopod shots and walking shots. For walking shots I down the monopod to minimal length and it comes something like a conterweight. And a last thing in outdoor situation. I can attach my jacket on my FigRig with a simple clip and hide my face and viewfinder to sunlight like guys who used to a view camera. Sorry for my bad english.
  19. I use the FigRig for this short. I use it on a monopod or sometime for walking shots.
  20. I use the FigRig all time, most often on a monopod. I like it. I use a DIY follow focus.
  21. I think skin tones are very good on a D5200. On Mai 13, I got some issues with the daylight who changes all the time. Juan Miguel wasn't ill but he's a South American and he needs sun after a long winter in Paris. You can check skin tone on this samples : Some secondes (in and out point and save as... in MpegStreamclip) of original D5200 files. 127,1 mo ; 7 differents skin tones. (green tone on the DSC 0178 is a wall green reflexion) https://www.dropbox.com/sh/rhrbyk21m5v6xdg/x8qhi7ZPft If D5300 doesn't produce FPN, I want one.
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