Attila Bakos

Last summer film, favourite of our family. X-T3 with Bolex Moller 16/32/1.5x. 
 

Then you tell her no problem sweetheart, we'll fix you in post. ?

My new stuff, details here: http://colorizer.net/index.php?op=slog2
If you have some S-Log2/S-Gamut3.cine footage, I can apply my LUTs to them if that helps to judge quality.
Created using an A6300 & X-T3.
 

I didn't watch all of it, but he doesn't seem to convert S-Gamut to Rec.709. I know that he has skills and a good reputation, but I always find it amateurish when people apply some contrast and forget about the gamut.

Isn't the Shinobi better for the same price (on B&H)?

Filmed with my X-T3 and anamorphic with Bolex 16/32/1.5x. Taking lens Contax G 45/2 rehoused to Leica M. Used Ninja V for recording. 
 

screenshot from a film I am now editing. Halfway the hike in Austria the SSD from my Ninja V was full, so I stored new footage on SD card. In Premiere CC I edit both and Ninja files are faster to render than H265 from card....

That's kinda the point here, that once the interpretation issue is fixed in RCM there will be almost no difference. Right now RCM is different from the others but yeah, you have to open the files in separate tabs and click back and forth to see the difference. A real world scenario might be more telling.

I still recommend my own LUTs for N-Log: http://colorizer.net/index.php?op=aces
The official LUT provided by Nikon is very amateurish, see what it does to a grey gradient:

See the ripple in the highlight rolloff? It's ugly. Let's see it with curves:

You can also see that the neutrals don't stay neutral, especially the shadows.

Yeah 16 doesn't have it, 16.1 b2 (the latest beta) added it.

I did my tests using Fujifilm F-Log as input color space, then Rec.709 Gamma 2.4 as timeline & output color space. I don't use HLG but for that I'd use Rec.2100 HLG as input, in fact that's automatically chosen by RCM if you import a Fuji HLG file. (in Resolve 16.1 beta 2)
About interpretation of F-Log files (didn't test HLG yet):
If you use the Ninja V then you're fine.
If you use internal footage then you're fine in Davinci YRGB and ACES, but not (yet) in RCM.
If you transcode the footage by doing a matrix conversion from BT.601 to BT.709 then you're fine.
If you transcode the footage without a matrix conversion and you preserve the original matrix coefficients flag, then you're fine in Davinci YRGB and ACES, but not (yet) in RCM.
If you transcode the footage without a matrix conversion and you omit (or simply rewrite) the matrix coefficients flag, then the footage will be interpreted incorrectly everywhere.
It all comes down to how shutter encoder works. I can only help with FFMPEG.

Yeah but this is just a beta, and they are getting there. If I have time I'll post a ticket.

A slight downside: it seems that the fix they implemented for the bad interpretation for Fujifilm files in v16 (bad YCbCr->RGB conversion) only works in Davinci YRGB and not in RCM.

Yeah but this is just a beta, and they are getting there. If I have time I'll post a ticket.

Yeah but this is just a beta, and they are getting there. If I have time I'll post a ticket.

A slight downside: it seems that the fix they implemented for the bad interpretation for Fujifilm files in v16 (bad YCbCr->RGB conversion) only works in Davinci YRGB and not in RCM.

I still recommend my own LUTs for N-Log: http://colorizer.net/index.php?op=aces
The official LUT provided by Nikon is very amateurish, see what it does to a grey gradient:

See the ripple in the highlight rolloff? It's ugly. Let's see it with curves:

You can also see that the neutrals don't stay neutral, especially the shadows.

Yes, its an estimated continuation of the 'fringe' data. All of the gamut (and theoretical gamut) continue from the known edge of the sample cloud. In this way, even cameras with a wider range and gamut than the original intended can be used sans clipping

If you don't want to install anything, I created an online version that does the same thing: http://colorizer.net/index.php?op=lightroom

I just updated to Resolve 16 beta and the issue seems to be fixed. All Fujifilm files including HLG are interpreted with the correct matrix. The changelog mentions Fujifilm files but the fix seems to be general, it's seems that the matrix coefficients tag is now respected. The latest Premiere still has issues though.

I just updated to Resolve 16 beta and the issue seems to be fixed. All Fujifilm files including HLG are interpreted with the correct matrix. The changelog mentions Fujifilm files but the fix seems to be general, it's seems that the matrix coefficients tag is now respected. The latest Premiere still has issues though.

I friend of mine has a bit of electrical engineering knowledge, he created a cable that allows me to control the X-T3's shutter and focus from the Zhiyun Crane Plus. It works on the Zhiyun Crane 2 as well. He won't create another one but I can ask for the wiring diagram if anyone's interested. It needs an optocoupler and a couple of resistors, so a part of the cable will be thick, but it's not a real problem.

FYI:
 

The headroom is smaller, the X-T3 can't write this card at full speed. It's somewhere between 60-70 MB/s, but it's still enough. It all depends on the actual body, afaik the GH5 can't even write at 50 MB/s to this card.

FYI: