Attila Bakos

There has been a lot of updates of the app, so give it a try, and let me know what you think.
To save the generated LUT, press the "cloud download" icon.
Android app can be downloaded here: https://play.google.com/store/apps/details?id=com.kinoseed.matchcolor
Here's how things look like now:

Thanks a lot! I don't have a Fuji body at the moment, but I have some savings for the X-T3. If it turns out to be good then I'll make new LUTs. Until then visit my experimental project: http://colorizer.net/index.php?op=lut_contrast
With this tool you can remove the contrast curve of a 3D LUT. With the method I use the curve of the Eterna LUT can't be removed without distortion of the RGB transformation, but you won't necessarily see it in real-life footage. Maybe try 50% strength or less.

I recently finished this project. If you like the results, download the LUTs for free on colorizer.net.
 

and here is a complete work (some art event deep inside russian territory):
 

Resolve makes it very easy to convert the color space from Rec.2020 to Rec.709, using the built-in color space transform plugin.
In case you are using another NLE, I generated a LUT using 3D LUT Creator that does the same conversion: Rec.2020_to_Rec.709.cube
I couldn't test it, but it should be fine.

I believe it's user error, and a common one unfortunately, even among people who actually teach log grading. He shot many clips in S-Log2/S-Gamut, and forgot to convert color space during color correction.
This a screenshot from his video:

Here it is corrected with the color space transform plugin in Resolve, I only added a bit of contrast:

Now if I skip color space transformation and only apply contrast and saturation, see what happens:

And finally this is the uploaders grade:

 
So it's pretty clear what's happening here, it's not the camera's fault.

I recently finished this project. If you like the results, download the LUTs for free on colorizer.net.
 

Make sure you check the article as well, it has tons of comparison images and information.

Resolve makes it very easy to convert the color space from Rec.2020 to Rec.709, using the built-in color space transform plugin.
In case you are using another NLE, I generated a LUT using 3D LUT Creator that does the same conversion: Rec.2020_to_Rec.709.cube
I couldn't test it, but it should be fine.

In case you change your mind, she's on pornhub. Or so I've heard...

I believe it's user error, and a common one unfortunately, even among people who actually teach log grading. He shot many clips in S-Log2/S-Gamut, and forgot to convert color space during color correction.
This a screenshot from his video:

Here it is corrected with the color space transform plugin in Resolve, I only added a bit of contrast:

Now if I skip color space transformation and only apply contrast and saturation, see what happens:

And finally this is the uploaders grade:

 
So it's pretty clear what's happening here, it's not the camera's fault.

I believe it's user error, and a common one unfortunately, even among people who actually teach log grading. He shot many clips in S-Log2/S-Gamut, and forgot to convert color space during color correction.
This a screenshot from his video:

Here it is corrected with the color space transform plugin in Resolve, I only added a bit of contrast:

Now if I skip color space transformation and only apply contrast and saturation, see what happens:

And finally this is the uploaders grade:

 
So it's pretty clear what's happening here, it's not the camera's fault.

I believe it's user error, and a common one unfortunately, even among people who actually teach log grading. He shot many clips in S-Log2/S-Gamut, and forgot to convert color space during color correction.
This a screenshot from his video:

Here it is corrected with the color space transform plugin in Resolve, I only added a bit of contrast:

Now if I skip color space transformation and only apply contrast and saturation, see what happens:

And finally this is the uploaders grade:

 
So it's pretty clear what's happening here, it's not the camera's fault.

I believe it's user error, and a common one unfortunately, even among people who actually teach log grading. He shot many clips in S-Log2/S-Gamut, and forgot to convert color space during color correction.
This a screenshot from his video:

Here it is corrected with the color space transform plugin in Resolve, I only added a bit of contrast:

Now if I skip color space transformation and only apply contrast and saturation, see what happens:

And finally this is the uploaders grade:

 
So it's pretty clear what's happening here, it's not the camera's fault.

The camera eats the batteries one by one, the one in the body comes first, then it switches to the ones in the grip. When this switch happens, recording stops. The camera won't turn off, you just have to press record again. It's easy to forget, and because the screen is on, it's easy to remain under the impression that your recording is on. Then comes the surprise, and blood pressure rises to 200 in like 1 second.

The camera eats the batteries one by one, the one in the body comes first, then it switches to the ones in the grip. When this switch happens, recording stops. The camera won't turn off, you just have to press record again. It's easy to forget, and because the screen is on, it's easy to remain under the impression that your recording is on. Then comes the surprise, and blood pressure rises to 200 in like 1 second.

The problem with the grip is that the body can't switch batteries while recording. This is rarely mentioned even though it can be a real pain in the ass. Imagine you have 5 mins left in the battery inside the body and two fully charged batteries in the grip. You will still be limited to 5 mins of continuous recording, as the recording stops when the currently used battery dies. So you have to keep an eye on that, and in this case remove the battery if you plan a shot longer than 5 mins.

The problem with the grip is that the body can't switch batteries while recording. This is rarely mentioned even though it can be a real pain in the ass. Imagine you have 5 mins left in the battery inside the body and two fully charged batteries in the grip. You will still be limited to 5 mins of continuous recording, as the recording stops when the currently used battery dies. So you have to keep an eye on that, and in this case remove the battery if you plan a shot longer than 5 mins.

That is an excellent review shared by @jindrich. Interesting to see the behavior of the IBIS in the "Laguna Beach" video.
I've just packed up the X-H1 I recently purchased and sent it back to Adorama. It really is an excellent camera and so many improvements over the X-T2 for a true hybrid shooter. These were my issues:
I also experienced too much jerkiness with the IBIS. In "Laguna Beach" you can see some of the hops and jerks now and then, even within their chosen edit. Even with smooth, slow pans, I would have a fair bit of this. I spoke with a Fuji tech yesterday and "Dan" informed me that is was likely an issue of "buffer on the sensor" and that was all he could say. There are time too when the IBIS produces an effect akin to a warp stabilizer in post that I loathe.
I also picked up a Fringer Pro adapter and much prefer the quality of the stabilization I get in my Canon 17-55/2.8. I am using this with both my X-T2 and tried it with the X-H1, both IBIS off and lens stabilization on and IBIS on and lens stabilization off as well as both on. For me, relying on the lens stabilization in the Canon produced the best look consistently.
I would love to use my fast, small Fuji primes, obviously, but this 1st gen. just IBIS just isn't there yet for me.
The other issue I had was the increased aliasing in the X-H1's 1080p/60 vs. the X-T2. It's there.
So with the Fringer adapter, the upcoming firmware, and examples like what @Vladimir posted, I've got a lot of mileage to pull from my X-T2 still. Feeling good about that. Excited about that shutter mechanism coming to the X-T3 or an X-H2 with better IBIS and aliasing control.
Oh, lastly, I think the new grip is not universally better. It is better than an X-T2 w/o the battery grip, which I shoot with, but felt just a bit more than what I wanted. Subjective, is all.

It seems those blinking pixels mentioned in this thread will be fixed with the new 1.01 firmware, which is already downloadable:
Resolves an issue where blinking pixels may appear at bottom edge of the camera setting and with certain lenses, especially during XAVC S 4K (PAL 25p) recording Resolves a rare issue where the touch panel cannot be operated Improves overall stability of the camera

It seems those blinking pixels mentioned in this thread will be fixed with the new 1.01 firmware, which is already downloadable:
Resolves an issue where blinking pixels may appear at bottom edge of the camera setting and with certain lenses, especially during XAVC S 4K (PAL 25p) recording Resolves a rare issue where the touch panel cannot be operated Improves overall stability of the camera

That's actually my site I believe I could easily create a flatter Eterna LUT, but I don't have the X-H1, and I don't know anyone in my area (Hungary, Europe) who has one.
(If you try my LUTs, make sure to switch the clip to video levels.)

Yes it all started with a comparison I made, where I tried to do anti-aliasing on a heavily aliased X-H1 120p footage. I did it in avisynth since Resolve has nothing that can help here. The feature you recommended does nothing when you post your 1080p120 footage to an 1080p timeline. It only helps when your footage's resolution does not match timeline resolution, that whole section in the project settings page is for scaling only.

Yeah many people do it like this, as having a bit of noise reduction in the first node can also lead to cleaner keys.

For the banding removal mentioned earlier, when you have massive banding, it can be useful to add grain and then apply temporal noise reduction. I applied a very strong grade to one of my X-T2 F-Log clips here, to show some nasty banding (view in full size):

Then I created a mask for the sky in Resolve, applied some heavy grain and then some heavy temporal noise reduction in Resolve's denoiser, and voilá. Obviously this will only work if you can mask out the problematic area and if there's no real detail there.