Attila Bakos

Thanks for the LUTs and ffmpeg fix technique.

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.
 

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.
 

Sure; it depends on what you'd like. Fuji and BMD have very good, usable color. I personally will use P4K with GH5; I hope to have EC to do a production this summer.
8 bit is tricky; I'd prefer to only support 10 bit cameras, though I will try to find a way that will give viable production level results with 8-bit. I think Log is not really in the cards there.
 
Bit of really cool news; last weekend, the director of a film starring Josh Hartnett wrote to me to say that they were using the GH5 with EC as a pick-up cam alongside Alexa Minis and XTs.
He said that a senior Star Wars colorist was doing the grade, and said that 'everybody was very impressed' with it. I was pretty thrilled with that

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.

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.

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

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.

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.

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.

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.

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.

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.

@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.
 

That's why I believe that assumption is wrong and the data itself is different.
EDIT: Forgot to tell you that I experimented with extracting the raw stream and inserting it into another container without any flags. In this case even Scratch shows the difference, so my theory seems to be correct.
EDIT2: Or just use this script: ffmpeg -i INPUT.MOV -c copy -bsf:v hevc_metadata=matrix_coefficients=1 OUTPUT.MOV
It only changes the matrix coefficients tag to BT.709, and immediately you can see a difference in Scratch. So it's respecting the tags.

If you're a Resolve Studio user, you can try this DCTL, it does the same thing as the Rec709toRec601.cube mentioned earlier, but it won't clip values, and it's a bit more precise: https://www.dropbox.com/s/pm3nbyco6wg25kx/FujifilmColorFix.dctl?dl=1

Here's a quickie. A BT.2020-Rec.709 conversion, a curve to highlight the person, some vignette to darken everything else, Kodak 2383 D55 on 40%, slightly boosted saturation and desaturated shadows.

Here's a quickie. A BT.2020-Rec.709 conversion, a curve to highlight the person, some vignette to darken everything else, Kodak 2383 D55 on 40%, slightly boosted saturation and desaturated shadows.

Here's a quickie. A BT.2020-Rec.709 conversion, a curve to highlight the person, some vignette to darken everything else, Kodak 2383 D55 on 40%, slightly boosted saturation and desaturated shadows.

Yes the waweform has three options : Luma, RGB, parade.
 
swit 55 parade.mov

The name

The name

The name

The name

Looks good, I use this phone holder until I get something better: https://m.aliexpress.com/item/32797019174.html?trace=wwwdetail2mobilesitedetail&spider=y&productId=32797019174&productSubject=Ulanzi-IRON-MAN-II-Aluminum-Metal-Smartphone-Tripod-Mount-with-Cold-Shoe-Mount-Cell-Phone-Tripod