BTM_Pix

It grades really well. First one is an M31 LUT and the second one is a a straight curve in colorista. 

They are both from the FLOG.
OK, so here is one of the source FLOG files.
Its 21 seconds complete with random people walking across frame and off camera audio from the internal mics of two ladies having a conversation that may have been fuelled by afternoon cocktails.
4K ProRes 422LT* 
https://mega.nz/#!RqxBkTbD!dqmFFG4fFjC792nc1Y9yj2EQNIYSm3hpAQRyjHJDG7w
 
*Yes,yes I know.
 

I wouldn't say that easily as they were already looking suspicious at the apparently randomly placed camera on the table pointing in their general direction without me pointing lights at them
 

Thanks to the morse code speed of my internet here it will be file in the singular.
And even then, the X-T3 might be released before it finishes uploading it.

Thanks to the morse code speed of my internet here it will be file in the singular.
And even then, the X-T3 might be released before it finishes uploading it.

Haven't been there for a while but you might try the Media Markt shop if you have a car to drive to it.

I wouldn't say that easily as they were already looking suspicious at the apparently randomly placed camera on the table pointing in their general direction without me pointing lights at them
 

So.....FLOG then.
I've done a very brief, not exactly creative test recording FLOG to the Atomos Ninja Inferno.
First things first, the Ninja Inferno is a fine piece of kit but it isn't all plain sailing when its paired to the X-T2.
One glaring issue is that it can't lock to the 1080/24p coming from the X-T2 and just blanks the screen every half a second. 
All other sizes and frame rates are fine and the issue definitely appears to be coming from the X-T2 side as a quick test with a BMPCC showed no issue at all.
Another issue which caused me some head scratching until I worked it out was that if you have the eye sensor on then it blanks the HDMI output when it switches over. This looked like another blanking issue or dodgy cable until I realised what was happening. Surely no one at Fuji thought that was a good idea? Switching it off and leaving it on rear or EVF solved the issue so I'll have to remember that when switching to video recording as the eye sensor ON is of course my default for stills use.
The final thing was that the Fuji FLOG monitoring LUT on the Ninja Inferno actually shows less detail when active than just leaving it in REC709 so they both need to do some work on that. Or maybe I do and download the LUT that Fuji have on their website for editing with to see if that makes a difference. 
I'll do a separate report for the Ninja Inferno when I've used it with a few more cameras but for now, lets crack on with this FLOG thing.
Activating FLOG switches the ISO of the X-T2 to 800. So if you have the ISO on the dial set to less than 800 then it will ignore it and you won't see any changes until you move the dial beyond 800. This explains the couple of stops difference on the meter when switching to FLOG when I was just looking at it on the monitor as the even though the ISO dial was on 200.
To keep the test consistent then, I've set the ISO to 800 for both FLOG and non FLOG shots.
The comparison is to show the difference between FLOG and using what has become the defacto setting for flattish recording on the X-T2 which is ProNegStd with -2 highlights and -2 shadows.
The shots were exposed using the (excellent) luma parade function of the Ninja Inferno so that the brightest part of the image was just kissing 100.
Apologies for the not exactly inspiring nature of the shots but hopefully the nature of them means you can get a feel for what sort of DR you can expect when using FLOG.
These frames are completely untouched out of FCPX (no FLOG>709 LUT) so that you can shape them yourselves to make your own judgement.
If you want to use the official Fuji LUT it is available here
http://www.fujifilm.com/support/digital_cameras/software/lut/
 
 

No, I think that you're pretty much spot on and its a conclusion I've been coming to myself recently.
I've just done a side by side comparison with log on the Fuji X-T2 and one of their inbuilt colour profiles and with a lot of fiddling I can get the log to look, erm, exactly like the inbuilt profile.
Which shows that Fuji know far more about this stuff than I do and that I should just stick with considering their sensor to be a film stock and working with it instead of around it.
Its a damn sight quicker and less render intensive too.
As a complete aside, you don't by any chance know where I could source a charger for Sony NP970 type batteries in Alicante do you?

So.....FLOG then.
I've done a very brief, not exactly creative test recording FLOG to the Atomos Ninja Inferno.
First things first, the Ninja Inferno is a fine piece of kit but it isn't all plain sailing when its paired to the X-T2.
One glaring issue is that it can't lock to the 1080/24p coming from the X-T2 and just blanks the screen every half a second. 
All other sizes and frame rates are fine and the issue definitely appears to be coming from the X-T2 side as a quick test with a BMPCC showed no issue at all.
Another issue which caused me some head scratching until I worked it out was that if you have the eye sensor on then it blanks the HDMI output when it switches over. This looked like another blanking issue or dodgy cable until I realised what was happening. Surely no one at Fuji thought that was a good idea? Switching it off and leaving it on rear or EVF solved the issue so I'll have to remember that when switching to video recording as the eye sensor ON is of course my default for stills use.
The final thing was that the Fuji FLOG monitoring LUT on the Ninja Inferno actually shows less detail when active than just leaving it in REC709 so they both need to do some work on that. Or maybe I do and download the LUT that Fuji have on their website for editing with to see if that makes a difference. 
I'll do a separate report for the Ninja Inferno when I've used it with a few more cameras but for now, lets crack on with this FLOG thing.
Activating FLOG switches the ISO of the X-T2 to 800. So if you have the ISO on the dial set to less than 800 then it will ignore it and you won't see any changes until you move the dial beyond 800. This explains the couple of stops difference on the meter when switching to FLOG when I was just looking at it on the monitor as the even though the ISO dial was on 200.
To keep the test consistent then, I've set the ISO to 800 for both FLOG and non FLOG shots.
The comparison is to show the difference between FLOG and using what has become the defacto setting for flattish recording on the X-T2 which is ProNegStd with -2 highlights and -2 shadows.
The shots were exposed using the (excellent) luma parade function of the Ninja Inferno so that the brightest part of the image was just kissing 100.
Apologies for the not exactly inspiring nature of the shots but hopefully the nature of them means you can get a feel for what sort of DR you can expect when using FLOG.
These frames are completely untouched out of FCPX (no FLOG>709 LUT) so that you can shape them yourselves to make your own judgement.
If you want to use the official Fuji LUT it is available here
http://www.fujifilm.com/support/digital_cameras/software/lut/
 
 

For what its worth - and your mileage may vary considerably - my own view of this is that considering how much fiddling it takes for me to get the FLOG to a base point of the ProNegStd and the diminishing returns thereafter that aside from situations like the deliberate extremes of DR of the couple eating dinner I'm not convinced its a game changer for me really.
Certainly not significant enough to put down the extra cash for the Ninja Inferno or similar.
Fortunately, the FLOG was only going to be a bonus for me with this as its the edit ready ProRes and superb monitoring and metering that it gives to ALL of my cameras that is the big story here for me with the Ninja Inferno.

So.....FLOG then.
I've done a very brief, not exactly creative test recording FLOG to the Atomos Ninja Inferno.
First things first, the Ninja Inferno is a fine piece of kit but it isn't all plain sailing when its paired to the X-T2.
One glaring issue is that it can't lock to the 1080/24p coming from the X-T2 and just blanks the screen every half a second. 
All other sizes and frame rates are fine and the issue definitely appears to be coming from the X-T2 side as a quick test with a BMPCC showed no issue at all.
Another issue which caused me some head scratching until I worked it out was that if you have the eye sensor on then it blanks the HDMI output when it switches over. This looked like another blanking issue or dodgy cable until I realised what was happening. Surely no one at Fuji thought that was a good idea? Switching it off and leaving it on rear or EVF solved the issue so I'll have to remember that when switching to video recording as the eye sensor ON is of course my default for stills use.
The final thing was that the Fuji FLOG monitoring LUT on the Ninja Inferno actually shows less detail when active than just leaving it in REC709 so they both need to do some work on that. Or maybe I do and download the LUT that Fuji have on their website for editing with to see if that makes a difference. 
I'll do a separate report for the Ninja Inferno when I've used it with a few more cameras but for now, lets crack on with this FLOG thing.
Activating FLOG switches the ISO of the X-T2 to 800. So if you have the ISO on the dial set to less than 800 then it will ignore it and you won't see any changes until you move the dial beyond 800. This explains the couple of stops difference on the meter when switching to FLOG when I was just looking at it on the monitor as the even though the ISO dial was on 200.
To keep the test consistent then, I've set the ISO to 800 for both FLOG and non FLOG shots.
The comparison is to show the difference between FLOG and using what has become the defacto setting for flattish recording on the X-T2 which is ProNegStd with -2 highlights and -2 shadows.
The shots were exposed using the (excellent) luma parade function of the Ninja Inferno so that the brightest part of the image was just kissing 100.
Apologies for the not exactly inspiring nature of the shots but hopefully the nature of them means you can get a feel for what sort of DR you can expect when using FLOG.
These frames are completely untouched out of FCPX (no FLOG>709 LUT) so that you can shape them yourselves to make your own judgement.
If you want to use the official Fuji LUT it is available here
http://www.fujifilm.com/support/digital_cameras/software/lut/
 
 

So.....FLOG then.
I've done a very brief, not exactly creative test recording FLOG to the Atomos Ninja Inferno.
First things first, the Ninja Inferno is a fine piece of kit but it isn't all plain sailing when its paired to the X-T2.
One glaring issue is that it can't lock to the 1080/24p coming from the X-T2 and just blanks the screen every half a second. 
All other sizes and frame rates are fine and the issue definitely appears to be coming from the X-T2 side as a quick test with a BMPCC showed no issue at all.
Another issue which caused me some head scratching until I worked it out was that if you have the eye sensor on then it blanks the HDMI output when it switches over. This looked like another blanking issue or dodgy cable until I realised what was happening. Surely no one at Fuji thought that was a good idea? Switching it off and leaving it on rear or EVF solved the issue so I'll have to remember that when switching to video recording as the eye sensor ON is of course my default for stills use.
The final thing was that the Fuji FLOG monitoring LUT on the Ninja Inferno actually shows less detail when active than just leaving it in REC709 so they both need to do some work on that. Or maybe I do and download the LUT that Fuji have on their website for editing with to see if that makes a difference. 
I'll do a separate report for the Ninja Inferno when I've used it with a few more cameras but for now, lets crack on with this FLOG thing.
Activating FLOG switches the ISO of the X-T2 to 800. So if you have the ISO on the dial set to less than 800 then it will ignore it and you won't see any changes until you move the dial beyond 800. This explains the couple of stops difference on the meter when switching to FLOG when I was just looking at it on the monitor as the even though the ISO dial was on 200.
To keep the test consistent then, I've set the ISO to 800 for both FLOG and non FLOG shots.
The comparison is to show the difference between FLOG and using what has become the defacto setting for flattish recording on the X-T2 which is ProNegStd with -2 highlights and -2 shadows.
The shots were exposed using the (excellent) luma parade function of the Ninja Inferno so that the brightest part of the image was just kissing 100.
Apologies for the not exactly inspiring nature of the shots but hopefully the nature of them means you can get a feel for what sort of DR you can expect when using FLOG.
These frames are completely untouched out of FCPX (no FLOG>709 LUT) so that you can shape them yourselves to make your own judgement.
If you want to use the official Fuji LUT it is available here
http://www.fujifilm.com/support/digital_cameras/software/lut/
 
 

For what its worth - and your mileage may vary considerably - my own view of this is that considering how much fiddling it takes for me to get the FLOG to a base point of the ProNegStd and the diminishing returns thereafter that aside from situations like the deliberate extremes of DR of the couple eating dinner I'm not convinced its a game changer for me really.
Certainly not significant enough to put down the extra cash for the Ninja Inferno or similar.
Fortunately, the FLOG was only going to be a bonus for me with this as its the edit ready ProRes and superb monitoring and metering that it gives to ALL of my cameras that is the big story here for me with the Ninja Inferno.

I've been interested in the Moondog Labs anamorphic adapter for the iPhone and didn't know they did a version with a 37mm thread on it until I came across this video.
OK, so quality wise its not going to have people ditching their Isocramas but its a cheap way to get into having a go and can also do double duty for its original target platform of the iPhone (something which is now even more interesting with the new LOG version of FilmicPro)
 

Yeah, I'm in the Murcia region and its slim pickings here too but I have to go to Alicante tomorrow so thought I might have some luck.
Mind you, I could stay around for the other stuff you mentioned there!

Thanks @BTM_Pix! 

No, I think that you're pretty much spot on and its a conclusion I've been coming to myself recently.
I've just done a side by side comparison with log on the Fuji X-T2 and one of their inbuilt colour profiles and with a lot of fiddling I can get the log to look, erm, exactly like the inbuilt profile.
Which shows that Fuji know far more about this stuff than I do and that I should just stick with considering their sensor to be a film stock and working with it instead of around it.
Its a damn sight quicker and less render intensive too.
As a complete aside, you don't by any chance know where I could source a charger for Sony NP970 type batteries in Alicante do you?

So.....FLOG then.
I've done a very brief, not exactly creative test recording FLOG to the Atomos Ninja Inferno.
First things first, the Ninja Inferno is a fine piece of kit but it isn't all plain sailing when its paired to the X-T2.
One glaring issue is that it can't lock to the 1080/24p coming from the X-T2 and just blanks the screen every half a second. 
All other sizes and frame rates are fine and the issue definitely appears to be coming from the X-T2 side as a quick test with a BMPCC showed no issue at all.
Another issue which caused me some head scratching until I worked it out was that if you have the eye sensor on then it blanks the HDMI output when it switches over. This looked like another blanking issue or dodgy cable until I realised what was happening. Surely no one at Fuji thought that was a good idea? Switching it off and leaving it on rear or EVF solved the issue so I'll have to remember that when switching to video recording as the eye sensor ON is of course my default for stills use.
The final thing was that the Fuji FLOG monitoring LUT on the Ninja Inferno actually shows less detail when active than just leaving it in REC709 so they both need to do some work on that. Or maybe I do and download the LUT that Fuji have on their website for editing with to see if that makes a difference. 
I'll do a separate report for the Ninja Inferno when I've used it with a few more cameras but for now, lets crack on with this FLOG thing.
Activating FLOG switches the ISO of the X-T2 to 800. So if you have the ISO on the dial set to less than 800 then it will ignore it and you won't see any changes until you move the dial beyond 800. This explains the couple of stops difference on the meter when switching to FLOG when I was just looking at it on the monitor as the even though the ISO dial was on 200.
To keep the test consistent then, I've set the ISO to 800 for both FLOG and non FLOG shots.
The comparison is to show the difference between FLOG and using what has become the defacto setting for flattish recording on the X-T2 which is ProNegStd with -2 highlights and -2 shadows.
The shots were exposed using the (excellent) luma parade function of the Ninja Inferno so that the brightest part of the image was just kissing 100.
Apologies for the not exactly inspiring nature of the shots but hopefully the nature of them means you can get a feel for what sort of DR you can expect when using FLOG.
These frames are completely untouched out of FCPX (no FLOG>709 LUT) so that you can shape them yourselves to make your own judgement.
If you want to use the official Fuji LUT it is available here
http://www.fujifilm.com/support/digital_cameras/software/lut/
 
 

So.....FLOG then.
I've done a very brief, not exactly creative test recording FLOG to the Atomos Ninja Inferno.
First things first, the Ninja Inferno is a fine piece of kit but it isn't all plain sailing when its paired to the X-T2.
One glaring issue is that it can't lock to the 1080/24p coming from the X-T2 and just blanks the screen every half a second. 
All other sizes and frame rates are fine and the issue definitely appears to be coming from the X-T2 side as a quick test with a BMPCC showed no issue at all.
Another issue which caused me some head scratching until I worked it out was that if you have the eye sensor on then it blanks the HDMI output when it switches over. This looked like another blanking issue or dodgy cable until I realised what was happening. Surely no one at Fuji thought that was a good idea? Switching it off and leaving it on rear or EVF solved the issue so I'll have to remember that when switching to video recording as the eye sensor ON is of course my default for stills use.
The final thing was that the Fuji FLOG monitoring LUT on the Ninja Inferno actually shows less detail when active than just leaving it in REC709 so they both need to do some work on that. Or maybe I do and download the LUT that Fuji have on their website for editing with to see if that makes a difference. 
I'll do a separate report for the Ninja Inferno when I've used it with a few more cameras but for now, lets crack on with this FLOG thing.
Activating FLOG switches the ISO of the X-T2 to 800. So if you have the ISO on the dial set to less than 800 then it will ignore it and you won't see any changes until you move the dial beyond 800. This explains the couple of stops difference on the meter when switching to FLOG when I was just looking at it on the monitor as the even though the ISO dial was on 200.
To keep the test consistent then, I've set the ISO to 800 for both FLOG and non FLOG shots.
The comparison is to show the difference between FLOG and using what has become the defacto setting for flattish recording on the X-T2 which is ProNegStd with -2 highlights and -2 shadows.
The shots were exposed using the (excellent) luma parade function of the Ninja Inferno so that the brightest part of the image was just kissing 100.
Apologies for the not exactly inspiring nature of the shots but hopefully the nature of them means you can get a feel for what sort of DR you can expect when using FLOG.
These frames are completely untouched out of FCPX (no FLOG>709 LUT) so that you can shape them yourselves to make your own judgement.
If you want to use the official Fuji LUT it is available here
http://www.fujifilm.com/support/digital_cameras/software/lut/
 
 

Many people do not know what they are doing or why they are doing it when it comes to 'grading'. You can spot a professional colourist a mile away. 

I've just got the Atomos Ninja Inferno as the first part of the equation before I got the LS300 to go with it but I was holding out until after NAB to be certain.
I suspect with the recently announced updates for the LS300 that it will very much remain a current camera and that this new one will sit above it in the range so might not be for me anyway. 
If it creates enough buzz though it might give the LS300 a shot in the arm as well to create awareness that JVC is a viable alternative to the usual suspects if you need something flexible.

I've been interested in the Moondog Labs anamorphic adapter for the iPhone and didn't know they did a version with a 37mm thread on it until I came across this video.
OK, so quality wise its not going to have people ditching their Isocramas but its a cheap way to get into having a go and can also do double duty for its original target platform of the iPhone (something which is now even more interesting with the new LOG version of FilmicPro)
 

I've ordered the Ninja Inferno.
Expect some flog to be making an appearance here soon... 

I have observed the opposite when out shooting. People with cameras shoot other people and images with thought. All photogra I know focus on people. The smartphones are more for collecting an evidence that they where there or a selfie/groupee. 
The point being that a quick observation isnt worth more than the millions of dollars spent in market research.