Attila Bakos

You already know the difference in specs, but do you want to shoot log? If yes, then the X-T3 is highly recommended over the X-H1.

Changing gamma and color space with the right-click menu on the node only works if your timeline gamma and colorspace is set according to the clip you're viewing. So if you're viewing an F-Log clip, and you're timeline is set to Fujifilm F-Log, you can right click the node, set gamma to linear and adjust exposure with the curves the way I described before. It will be like a node between two colorspace transform nodes, but compressed to one node. But what do you do when you have clips from multiple cameras? I like the color space transform plugin better because I can see better what's happening. And sometimes you want to see what's happening between the transformations, in our case the linearized image. When you use the one-node method you don't get to see that, you only see the output of that node.

To anyone wondering about exposure controllers in Resolve: You can use the offset wheel in ACES, it's very close to a true exposure controller, but only in ACES. In normal Davinci YRGB mode you can linearize the clip using the Color Space Transform plugin, and once in linear mode you just grab the top right part of the curves and grab it along the top or right border. Because you're in linear mode this will be simple multiplication, so it's an easy way to control exposure. Then you use the same plugin to convert back to log.

It's likely that I see this differently than most people. I don't have a Panasonic camera but I build IDT's, among other stuff, so small differences matter to me a lot.

That's a fact, Panasonic did not release an IDT, they say the GH5 is not compatible with ACES. Bullshit.

To anyone using RCM: just checked the latest Resolve and while Fuji files are displayed correctly in Davinci YRGB since v16, RCM is still buggy, and you can't even use my matrix fix there. It's interesting because even ACES is fine. I'm talking about this issue:

It's the compression, I never release LUTs with such problems

Would anyone be interested in LUTs that could be applied on S-Log2/S-Gamut3.cine clips on an ACEScct timeline? I extracted color information from Fujifilm profiles, and built special LUTs for ACEScct. The effect is subtle because the gamma is unchanged, only color is changed: Normal S-Log2/S-Gamut3.cine clip on an ACEScct timeline, with only exposure adjustment: Provia LUT applied: Classic Chrome LUT applied: I have all the other profiles as well.

I sell a package that contains this fix and a bunch of others: http://colorizer.net/index.php?op=technical It's not the flagging that's fixed, but the bad YUV->RGB conversion when the flag is ignored.

Or not ? https://www.fujirumors.com/fujifilm-x-t3-successor-not-to-be-announced-in-january-but-in-february-march/

@androidlad Do you happen to know anything about this? https://www.fujirumors.com/breaking-fujifilm-x-t3-successor-shipping-in-march-early-spring-2020-trusted-source/

Btw which lightbulb do you use to test extreme gamut?

I think he posted some code screenshot in the past where he fixed hue twists. I'm 99% sure he fixes this issue but I'll let the man talk

3 stops.

That sounds like P in the HSP color model. To me it reprents luma better than L in HSL, or V in HSV.