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BrunoCH

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  1. Like
    BrunoCH got a reaction from jpleong in I WILL be getting a Fuji X-T3!   
    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
  2. Like
    BrunoCH got a reaction from webrunner5 in I WILL be getting a Fuji X-T3!   
  3. Like
    BrunoCH got a reaction from Dan Wake in I need to upgrade for a far better audio recorder: which?   
    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
  4. Like
    BrunoCH got a reaction from Dan Wake in I need to upgrade for a far better audio recorder: which?   
    - 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.
     
  5. Like
    BrunoCH got a reaction from Kubrickian in I WILL be getting a Fuji X-T3!   
    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
  6. Thanks
    BrunoCH reacted to Geoff_L in I WILL be getting a Fuji X-T3!   
    Beautiful and captivating ! Ah, and so much flexibility that makes me jealous and my back cracking  😄
  7. Thanks
    BrunoCH reacted to Thomas Hill in I WILL be getting a Fuji X-T3!   
    That looks fantastic!
  8. Like
    BrunoCH got a reaction from Geoff_L in I WILL be getting a Fuji X-T3!   
    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
  9. Like
    BrunoCH got a reaction from Thomas Hill in I WILL be getting a Fuji X-T3!   
    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
  10. Thanks
    BrunoCH reacted to webrunner5 in I WILL be getting a Fuji X-T3!   
    Wow that is a pretty amazing video. Well done.
  11. Thanks
    BrunoCH reacted to webrunner5 in xt3 arrived today   
    Kind of expensive even used, but it is a great all in one lens. On the slow side though F stops wise, but most are in that price range. No free lunch.
    https://www.amazon.com/Fujinon-XF18-135mmF3-5-5-6-LM-OIS-WR/dp/B00KZHOYSW
  12. Like
    BrunoCH got a reaction from webrunner5 in I WILL be getting a Fuji X-T3!   
    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. Like
    BrunoCH got a reaction from Mmmbeats in I WILL be getting a Fuji X-T3!   
    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. Like
    BrunoCH got a reaction from frontfocus in I WILL be getting a Fuji X-T3!   
    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. 
     

  15. Like
    BrunoCH got a reaction from IronFilm in I WILL be getting a Fuji X-T3!   
    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. 
     

  16. Like
    BrunoCH got a reaction from Emanuel in Deciding between X-H1 and X-T3   
    XT3 for 10bits internal. You can add stabilisation with gimbal, steadycam, tripod... You can never add 10bits on the XH1.
  17. Like
    BrunoCH reacted to androidlad in I WILL be getting a Fuji X-T3!   
    Shot a water sports festival with X-T3, hugely empowered by the enhanced face detection in the latest firmware, face select also came in handy when switching subject.
    F-log, HEVC 400Mbps LongGOP, sharpness and NR -4,  custom WB.
    Graded with GHalex LUT, simple contrast/saturation adjustments
    A couple observations:
    1. Face detection does not work at all with sunglasses, would be great if it could.
    2. To get the purest colours from X-T3, custom WB is the way to go! Use a proper white/neutral grey card to set a custom WB to the key light.



  18. Like
    BrunoCH got a reaction from mercer in I WILL be getting a Fuji X-T3!   
    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)


  19. Like
    BrunoCH got a reaction from heart0less in I WILL be getting a Fuji X-T3!   
    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)


  20. Thanks
    BrunoCH got a reaction from Stathman in X-T3 F-Log vs. HLG comparison   
    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
     
  21. Like
    BrunoCH got a reaction from thephoenix in I WILL be getting a Fuji X-T3!   
    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.
  22. Thanks
    BrunoCH got a reaction from thephoenix in I WILL be getting a Fuji X-T3!   
    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.
  23. Thanks
    BrunoCH got a reaction from timondeks in X-T3 F-Log vs. HLG comparison   
    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
     
  24. Like
    BrunoCH got a reaction from thephoenix in X-T3 F-Log vs. HLG comparison   
    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
     
  25. Thanks
    BrunoCH reacted to kye in Building a shoulder rig.   
    Cool job on the left-hand DIY.  I have a much more basic approach in my rig where I'm partly holding the rig but still able to focus.
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