Attila Bakos

4 minutes ago, androidlad said:

Controlling camera parameters and most importantly, pulling focus on Fuji native lenses via USB, require some complicated "reverse engineering".

Interestingly, a Timelapse tool VIEW did it a few months ago:

https://www.newsshooter.com/2018/12/24/timelapse-view-intervalometer-is-now-compatible-with-fujifilm-x-series-cameras/

It allows full control over most Fuji X cameras.

The developer of libgphoto2 also did it sometime last year, I haven't checked it though: http://www.gphoto.org/proj/libgphoto2/support.php

@Papiskokuji If you can upload an internal and an external version of the same shot somewhere, I can take a look at it.

35 minutes ago, thephoenix said:

@Attila Bakos in your video you say it only affects fuji internal files, so no issue with ninja v files recorded from xt3 ?

I can only speak of ProRes, but it was fine, no color issues there.

3 minutes ago, Mark Romero 2 said:

Is it the BT.601 tag that is causing the Magenta skies / clouds?

 

Is there a summary of the various workarounds?

No, the magenta issue is something else, but I wouldn't worry about it too much. It's not something you see in each clip, I haven't seen it on my X-T3 yet.

For the workarounds check this thread:

2 hours ago, androidlad said:

@Attila Bakos Fujifilm Tokyo has responded to the use of BT.601 tag in internally recorded files:

¯\_(ツ)_/¯

But....ahhh... at least we have workarounds.

9 hours ago, Andrew Reid said:

The Huawei one has them for breakfast, especially the shameful Samsung rush job.

https://consumer.huawei.com/uk/phones/mate-x/

It looks great, but how you can protect the back of the screen when folded? Or the edge.

Is there a changelog somewhere?

1 hour ago, heart0less said:

Did anyone notice any performance issues in 16 compared to 15.3.1?

I'm getting this pop-up every now and then, which never bothered me before:

 

I'm not doing anything crazy - just color grading 8 bit H264 video files from my Panasonic G85 in a 2560x1280 timeline.
Four nodes, no denoising, no sharpening, no qualifiers.

There's a thread about it here: https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=88961

Make sure you're updated to the latest drivers.

Did some tests, inside and outside, couldn't replicate the issue. However I see that F-Log has a messier red channel, so if you're unlucky, you could absolutely run into situations where the difference is as pronounced as in John Roque's examples. If there's an issue here, it must be about compression. That being said I wouldn't recommend against F-Log just yet, I never had any problems so far.

It would be nice to see if an external recorder fixes the problem for those how are seeing it.

14 hours ago, John Roque said:

I don't know if this has been addressed here but I'm finding some issues with flog with the xt3. Has anyone experienced these "pink splotches" before? These were shot in 10bit H.265. I'm finding that the HLG doesn't suffer from this issue. I placed a lut to emphasize the issue. Any help would be appreciated!

 

Any chance you could share the original for this clip? Just the F-Log one.

I'll do that tomorrow. I already submitted one to Blackmagic. If you can, please do the same.

This correction should be the very first thing in the chain. Funny thing is that sometimes you will prefer the uncorrected version, especially with nature stuff, the wrong matrix gives a bit more warmth to the image. 

I forgot to mention this in the video but the fixes should only be applied to non-HLG footage.

The issue this video covers was already mentioned in several topics, but I promised a video explanation and fixes, so here it is.
Beware: long, boring, bad English.

2 hours ago, Sage said:

For the c++, there is a problem I'm trying to solve. Giant 4D arrays aren't supposed to be declared on the stack like this, but I haven't figured out how to conveniently pass them to functions any other way yet (vector pointer 'arrays' can only be 2D etc)

Wish I could help with C++. I use Matlab for my stuff and it's pretty convenient. If I didn't have access to it I think I would use Python.

1 hour ago, Sage said:

EC was made by filming a large number of color samples with both cameras, and then extracting coordinate data from those samples and supplying that data to a my own c++ program. As channel clipping occurs, the program attempts to straighten hue lines to follow that of the higher DR camera. There is a point at which those hue lines merge during clipping, such that clipped red is identical to yellow, for example. When these regions are detected,  they are reduced to near grayscale data:

Oh yes, this is the kind of detail that excites me   Keep them coming. Too bad I can't scroll that still image ?
I've chosen not to deal with hue shifts in my own conversions, but in your situation where one camera has way more DR than the other, it seems like something that can't be ignored.

48 minutes ago, KnightsFan said:

Hmm, I looked in ffprobe, but I don't see that particular info. I suspect that the XT3 doesn't record ISO and aperture information for video files.

It records a lot of stuff, including aperture and ISO, use Exiftool.

Here's a sample output:

ExifTool Version Number         : 11.29
File Name                       : DSCF7556.MOV
Directory                       : .
File Size                       : 606 MB
File Modification Date/Time     : 2019:01:26 19:27:17+01:00
File Access Date/Time           : 2019:01:26 19:34:59+01:00
File Creation Date/Time         : 2019:01:26 19:34:59+01:00
File Permissions                : rw-rw-rw-
File Type                       : MOV
File Type Extension             : mov
MIME Type                       : video/quicktime
Major Brand                     : Apple QuickTime (.MOV/QT)
Minor Version                   : 0.0.0
Compatible Brands               : qt
Movie Header Version            : 0
Time Scale                      : 25000
Duration                        : 25.00 s
Preferred Rate                  : 1
Preferred Volume                : 100.00%
Preview Time                    : 0 s
Preview Duration                : 0 s
Poster Time                     : 0 s
Selection Time                  : 0 s
Selection Duration              : 0 s
Current Time                    : 0 s
Next Track ID                   : 4
Track Header Version            : 0
Track Create Date               : 2019:01:14 16:13:13
Track Modify Date               : 2019:01:14 16:13:13
Track ID                        : 1
Track Duration                  : 25.00 s
Track Layer                     : 0
Track Volume                    : 0.00%
Image Width                     : 4096
Image Height                    : 2160
Graphics Mode                   : srcCopy
Op Color                        : 0 0 0
Compressor ID                   : hvc1
Source Image Width              : 4096
Source Image Height             : 2160
X Resolution                    : 72
Y Resolution                    : 72
Bit Depth                       : 24
Color Representation            : nclc 1 6 6
Video Frame Rate                : 25
Time Code                       : 3
Balance                         : 0
Audio Format                    : lpcm
Audio Channels                  : 3
Audio Bits Per Sample           : 16
Audio Sample Rate               : 1
Matrix Structure                : 1 0 0 0 1 0 0 0 1
Media Header Version            : 0
Media Create Date               : 2019:01:14 16:13:13
Media Modify Date               : 2019:01:14 16:13:13
Media Time Scale                : 25000
Media Duration                  : 25.00 s
Handler Class                   : Media Handler
Handler Type                    : Time Code
Gen Media Version               : 0
Gen Flags                       : 0 0 0
Gen Graphics Mode               : ditherCopy
Gen Op Color                    : 32768 32768 32768
Gen Balance                     : 0
Text Font                       : System
Text Face                       : Plain
Text Size                       : 12
Text Color                      : 0 0 0
Background Color                : 0 0 0
Font Name                       :
Other Format                    : tmcd
Format                          : Digital Camera
Information                     : FUJIFILM DIGITAL CAMERA X-T3
Movie Stream Name               : FUJIFILM MOV STREAM 0130
Make                            : FUJIFILM
Camera Model Name               : X-T3
Modify Date                     : 2019:01:14 16:12:24
Artist                          :
Thumbnail Offset                : 985974
Thumbnail Length                : 8447
Copyright                       :
Exposure Time                   : 1/100
F Number                        : 4.0
ISO                             : 640
Sensitivity Type                : Standard Output Sensitivity
Date/Time Original              : 2019:01:14 16:12:24
Create Date                     : 2019:01:14 16:12:24
Shutter Speed Value             : 1/100
Exposure Compensation           : 0
Metering Mode                   : Multi-segment
Version                         : 0130
Internal Serial Number          : FF02B4624018     Y54774 2018:08:28 930330111016
Quality                         : NORMAL
Sharpness                       : 0 (normal)
White Balance                   : Kelvin
Saturation                      : 0 (normal)
Noise Reduction                 : 0 (normal)
Fuji Flash Mode                 : Not Attached
Flash Exposure Comp             : 0
Focus Mode                      : Unknown (65535)
Slow Sync                       : Off
Picture Mode                    : Manual
Shadow Tone                     : 0 (normal)
Highlight Tone                  : 0 (normal)
Grain Effect                    : Off
Auto Bracketing                 : Off
Blur Warning                    : None
Focus Warning                   : Good
Exposure Warning                : Good
Film Mode                       : F0/Standard (Provia)
Min Focal Length                : 18
Max Focal Length                : 55
Max Aperture At Min Focal       : 2.8
Max Aperture At Max Focal       : 4
Rating                          : 0
Frame Rate                      : 25
Frame Width                     : 4096
Frame Height                    : 2160
Lens Info                       : 18-55mm f/2.8-4
Movie Data Size                 : 634417152
Movie Data Offset               : 1050112
Aperture                        : 4.0
Avg Bitrate                     : 203 Mbps
Image Size                      : 4096x2160
Megapixels                      : 8.8
Rotation                        : 0
Shutter Speed                   : 1/100
Thumbnail Image                 : (Binary data 8447 bytes, use -b option to extract)
Light Value                     : 8.0

On 3/14/2019 at 2:18 PM, androidlad said:

Interesting. In Premiere Pro, that LUT gives a perfect visual match.

I finally figured out why I experienced problems with the LUT. An incorrect YCbCr->RGB conversion will result in values outside the 0-1 range. The LUT sees these values as 0 and 1 in Resolve, that's the reason for the inaccuracy. Premiere handles the LUT differently, there is no clamping there, and the results will be perfect, identical to using the DCTL version in Resolve. However it's possible the build a perfect LUT for Resolve as well, which will come in handy for non-Studio users. I actually built one, I plan to publish it alongside a video describing the problem in detail.

13 hours ago, Snowfun said:

How did you just so happen to stumble across that may one enquire?

Buy two and it would rival RED’s Hydrogen for an immersive experience.

You're asking the guy who just so happens to have a gay porn actor as his profile picture
I know, I know, how do I just so happen to know that... the URL of his picture is telling.

15 hours ago, androidlad said:

It's really important to expose HLG correctly because it maps 18% grey at a low 22IRE.

How did you find out that 22%? For a moment let's forget about Lutcalc data. I just shot a grey card at 46% in F-Log, using ISO640 and 1/40s. Then I switched the camera to HLG and shot the same card at ISO1000 and 1/60s. Looking by the numbers it's the same exposure (aperture did not change) but if there's no added gain in HLG then it's practically 2/3 stops lower than F-Log. In this case the grey level is about 32-33IRE.

1 hour ago, androidlad said:

I meant altering the tags to all BT.709 as well as removing the full range tag (or deliberately changing it to limited), because I heard Premiere Pro handles full range tagged files as yuvj420p format and decode using the wrong matrix regardless of resolution. Could you experiment with that if you have time? Thanks.

I tried removing the full range flag, no change. Also tried removing the full range flag & altering all color related tags, no change. Premiere and Resolve seem to completely ignore these tags.

5 minutes ago, androidlad said:

Interesting. In Premiere Pro, that LUT gives a perfect visual match.

Do you think altering the tags on H.264/H.265 files could be achieved without transcoding? And in batch?

Yes in most cases that LUT will give good results, but I had some shots with pink colors where it was ever so slightly off.

Yes you can alter the tags without transcoding, but I don't see why you would do that. Fuji's tags are actually correct, the problem is that the mainstream editors ignore them. If you modify the tags the files will look off even in editors that actually care about the metadata.

@androidlad Upon further inspection I found out that the Rec709toRec601.cube LUT is not 100% accurate, sometimes it will be slightly off. This problem might be something that can't be fixed with a single LUT, or matrix. For a really accurate conversion transcoding seems to be the only way:

ffmpeg -i INPUT.MOV -vf colorspace=all=bt709,scale=in_range=full:out_range=full -c:v prores_ks -profile:v 2 -c:a copy OUTPUT.MOV

Just remember to switch ProRes to full range once it's imported.

2 hours ago, thebrothersthre3 said:

For anyone interested the method I ended up using was adding the Fast Color Corrector tool in Video Effects under Obsolete. I changed the Output Black Level to 16 and the Output White Level to 235. Both transcoded prores and original H265 files look the same now (no more blown highlights and crushed shadows). 

Yeah that's the old way of doing it, but the method androidlad mentioned is faster, I'd recommend that one. The presets are under Effects->Lumetri presets->Technical.

36 minutes ago, androidlad said:

Do you have X-T3 with Ninja V? Would be interesting to see a comparison between internal H.265 HLG and external ProRes HLG. HLG metadata seems to be precise and complete.

Yes I'm interested in that as well, but unfortunately no external recorder here

If you check the HLG files in Assimilate Scratch and in Resolve, they look different. But if you go to the media section in Scratch and change data format from the recognized Rec2020 to Lin/sRGB and change HLG to SDR, they will look the same.