Attila Bakos

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.

Fuji 2.5mm remote release pin out-

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

@Attila Bakos ah, i see the post you made now on the aces forum. Aight. For $10 I will give it a shot.

This stuff is awesome! The results from the SLOG2/s-gamut3.cine is gorgeous. The highlight recovery is insane with ACES, thank you!

You can now work with F-Log, N-Log, and S-Log2/S-Gamut3.cine footage in ACES, or you can use LUTs that precisely emulate the ACES Rec.709 look. See the details here: http://colorizer.net/index.php?op=aces

It's a minor glare caused by the metallic PDAF layer on top of the sensor, only happens when light hits the sensor in certain angles, mostly in backlit situation.

Good news for Windows users: https://theblog.adobe.com/adobe-pro-video-apps-now-support-prores-export-on-windows/

Good news for Windows users: https://theblog.adobe.com/adobe-pro-video-apps-now-support-prores-export-on-windows/

Good news for Windows users: https://theblog.adobe.com/adobe-pro-video-apps-now-support-prores-export-on-windows/

Interesting results from Slashcam: https://www.slashcam.de/artikel/Test/Der-4K-Vollformat-Herausforderer-Nikon-Z6---Bildqualitaet-im-Videomodus.html
Among other things, they doubt that it's a full sensor readout in 4K, and also there is a slight crop when using N-Log.