Attila Bakos
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Posts posted by Attila Bakos
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13 hours ago, GabrielFF said:
About the BT709 LUT, I can't seem to find FLog color space in the Color Space Transform, only the FLog gamma seems to be there
FLog uses the color space defined by Rec.2020.
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17 hours ago, Sage said:
He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)
You are right, and you are a gentleman, because you didn't mention, that for ultimate precision your LUT is still the way to go. A matrix can get you close when you're lucky, but to transform all the color tweaks of a manufacturer, a 3D LUT is still the way to go.
- heart0less and Zeng
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It's amazing how close you can get with a simple matrix, as you really need some luck too, given how matrices work.
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Nice work, although 14000 data points sounds like overkill to verify a 3x3 matrix
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10 hours ago, Anaconda_ said:
Does anyone know if there's a way to check which profile (Film Sim) a shot was using? With BMD cameras, my metadata reading app thing tells me whether I was shooting in FILM or VIDEO or EXTENDED VIDEO - but it doesn't seem to get that kind of info from the Fuji...
Try exiftool. I believe that there's a FilmMode tag that has the info you need.
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2 minutes ago, jpleong said:
Not to be disagreeable but, I'm actually looking forward to shooting creative pieces with different film sims. Something about committing to a look BEFORE rather than the post-processing hell that comes with AFTER that is appealing to me... I think the amount of things I've had to do recently to fix-it-in-post because we liked "options" or were "indecisive" (read: unprepared) might be influencing that.
I also really liked Classic Negative when I applied it in Capture One Pro to some portrait studio work -a greener finish compared to Classic Chrome. I *hope* it comes to the X-T3...
I think I'll buy the X-T4 so I'll add Classic Neg to the Colorizer X-T3 F-Log LUT Pack, IF Fuji didn't change F-Log implementation again. But I hope it comes to the X-T3 as well, I'd like to have it on photos straight out of cam.
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8 hours ago, thebrothersthre3 said:
What is special about classic neg?
It's another film simulation, you either love it or not, nothing really special about it from a video shooter's perspective.
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Even though rumors said Classic Neg is coming to the X-T3 via fw update, a Fujifilm manager could not confirm that:
https://www.fujirumors.com/fujifilm-manager-about-full-frame-vs-aps-c-firmware-updates-for-x-t3-dslr-vs-mirrorless-and-talking-fujifilm-x-h2-is-like/ -
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54 minutes ago, seku said:
I'm really curious what you came up with
Right now im using CST's to linear and back to do my pre-GHa exposure. Looking forward to your solution!
There is a lesser known one node solution to this: https://www.eoshd.com/comments/topic/41483-the-video-that-shows-blackmagic-pocket-4k-raw-image-quality-is-same-as-gh5s-400mbit/page/4/?tab=comments#comment-336234
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49 minutes ago, Sage said:
Crazy as it sounds, that's a possibility. My main concern there is bit depth density; SLog would probably not be the focus. The GH5S is next around the corner
I have some experience with that, one of my LUT packages is based on measurements from an A6300 (S-Log2). Without going into details, I think you can create a product that satisfies most people, but it won't be up to your standards.
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3 hours ago, Super8 said:
Is th X-H1 a relavent camera in 2020? How does it compare to the newer Fuji cameras for video?
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.
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15 hours ago, kye said:
Instead of doing a CST -> adjustment -> CST can you just use a single node and set the CS of the node (it's in the menu you get via right-clicking the node) and would it do the same thing? My understanding is that the CST is simply a user interface to the same RCM functionality that applies to clips in the media pool, timelines, etc..
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. -
55 minutes ago, hyalinejim said:
I use 2 instances of OpenColorIO in AE, then pop it back to VLog and use a custom lut I designed for Gh5 VLog based on Portra 400.
It means I can make WB and exposure adjustments in ACES where AE's legacy brightness control +15 = 1 stop and CC Color Offset does global WB. Then it's back to VLog, then my lut. It's a bit cumbersome so I only do it when I'm feeling fancy. I haven't yet found a way of doing accurate corrections to VLog in Rec709 space.
So it's not a fully ACES compliant workflow, but the ability to make accurate corrections when in ACES space...
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.- KnightsFan, seku and kye
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1 minute ago, kye said:
Are you using the Panasonic IDT and finding that it does a really good job?
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.
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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: -
1 minute ago, heart0less said:
@Attila Bakos, I'm not sure if it's due to JPEG compression or it's just 8 bits breaking down, but take a look at the walls - a whole lot of awful banding.
It's the compression, I never release LUTs with such problems
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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.
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2 hours ago, BjornT said:
Where can one find this LUT that fixes HLG flagging?
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.
Fuji X-T3 and X-T4 discussion
In: Cameras
Posted
It seems this LUT is not up to Fuji's standards, it has a few weird transitions: