BrunoCH

Sure, it's all right!
Be sure to post the finished result here.
( :

@kye
Thanks for the comment. It’s a father daughter story. The man is a filmmaker kind of no crew no money, nothing.
 
@heart0less
Thanks for the comment. Editing is finish. Color grading will be ok in a week, I think. But I need time for sound and music. I  almost understand english but I can’t easily write and speak. It's too long and hard to share what I do.

@kye
Thanks for the comment. It’s a father daughter story. The man is a filmmaker kind of no crew no money, nothing.
 
@heart0less
Thanks for the comment. Editing is finish. Color grading will be ok in a week, I think. But I need time for sound and music. I  almost understand english but I can’t easily write and speak. It's too long and hard to share what I do.

Yup, these are fantastic.
Blacks are black and neutral (just the way I like it), but there is still a lot of detail in the shadows. Skin tones look superb.
Since you are already grading it, I assume you finished cutting it? When do you plan on releasing it?
Can we count on some shooting and editing first-hand experience?

@BrunoCH looks pretty good to me!
Why is the boom operator in your short?  Maybe @IronFilm can be a movie star after all!!

I hope these new 6k will be in H265 10bits All-I around 500 Mbps.

Test Flog and color grading Davinci 15

You’re absolutely right. Too pinkish and greenish. I worked too fast. I just wanted a quick test with 16.1 final release. Now I’m editing this short. In a few weeks, I’ll work seriously on color grading.

Then you tell her no problem sweetheart, we'll fix you in post. ?

Quick test with Resolve final version 16.1. Flog, H265,  400mbps, delog with a node colorspace transform and some adjustments. 

@BjornT was kind enough to share a grade he did using Filmconvert and Lumetri.
Here's his final grade:

and my manual grade:

These are the adjustments:
First node is WB
Second Node is this Luma Curve:

Third node is Hue vs Hue:

Fourth is a YUV channel mixer with a key to only apply it to blue:

This is the main 'look' of the grade, and remember that although the snip above says RGB, that the node is in YUV colour space.  If you're looking for cool looks then a channel mixer in YUV mode is where it's at!
Fifth node bumps up the Luminance and Saturation of the yellows (in the trees) via Hue vs Sat and Hue vs Lum curves.
Sixth is a key on the skin colours that shifts the yellows slightly towards pink (with a Hue vs Hue curve) and also raises the brightness a little (with a Hue vs Lum curve).
This was an interesting exercise and I primarily did it by having the two shots on top of each other with a Difference blending mode, and looking at the resulting image with the Waveform view, and also having the two shots next to each other on the timeline.  I'd go back and forth between the two shots and look at what the main issue was, then go into the Difference mode view and play with the controls trying to make the waveform go as low as possible (low waveform = smaller difference between the images).
I tried a number of things in curves where you'd end up with a curve that would look like a rollercoaster and that would tell you that something was going on with what you were adjusting, but that this type of curve wasn't the answer, so I went down a few of those rabbit-holes and trashed the node and tried something differently.
Anyway, that might be useful for someone.
 

I appreciated your warning this weekend. I tested it out and didn't lose any clips, so I used it on my weekend shoot. Definitely didn't lose footage, but it didn't keep my X-T3 powered for the whole shoot so I had to switch to my handheld rig with a v-mount battery. I do have an Anker power bank I've used with it before. Seems kind of clunky to gaff it to the gimbal though.
 

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.

In the XT3 menu, DCI is about 4K DCI which is the 4K cinema standard. 4k is about 4k UHD which is the TV standard. It's just a small difference of a few pixels vertical lines; nothing else. 

The best shoots I got with my XT3 are with the 4K DCI 400mbps, H265, F-log, color graded in Resolve beta 16.1, de-log with a color space transform node.

Left Sound Devices for the last few years (had my own 552 straight out of film school for a while, but then later on went F4/F8n/Maxx), although I'd still use a MM1 now and then on a semi regular basis whenever I was lucky enough to use a boom op.
But now I've returned, just today got the 1st 833 in the country!
 
 
 

You've already seen some stills; here is the video.
Constructive criticism welcome!
 

It’s the future of the Cmos sensor but it seems that it takes a long time to set up. Beauviala (Aaton camera creator) had written an interesting text three years ago already.
https://www.afcinema.com/The-end-of-the-Neutral-Density-Filter.html

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.

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. 

Just a few stills from my first proper anamorphic video and first video shot with X-T3.
A friend of mine asked me to document a graffiti jam that he organised.
Managed to get some nice shots, but getting a correct exposure during a sunny day was a huge PITA.
Need to work on it.
X-T3 (cropped 16:9 video, shot with HLG), Zhongyi Lens Turbo II, Minolta 58/1.4 (used at f/2.8), Isco Ultra Star, myFM, Tiffen Vari ND.
 

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.

Yes thought I read you were thinking of 'upgrading' to an Eos-r. Sounds like a downgrade to me, the Xt3 is a special little camera, punches way above its weight  

Excellent work! 
Can you mention what exactly you’re doing in RCM?
Also, what ND filter are you using?

I am using mostly HLG and Filmconvert. Now waiting for Filmconvert update X-T3 profile with HLG.