Attila Bakos

Hello,
This is the official topic for all Colorizer products.
My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras.
The following formats are supported at the moment, click the links for videos and details:
Fujifilm X-T3/X-T4 F-Log
Sony S-Log2/S-Gamut3.cine
Panasonic V-Log L & HLG
I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve:
- Fujifilm F-Log/F-Gamut
- Nikon N-Log/BT.2020
- Sony S-Log2/S-Gamut3.cine
- Z Cam ZLog2
- GoPro Protune
These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well.
I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user.
As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net.
Thank you for your attention,
Attila

Yeah, I remember the colour titans Attila and Sage exchanged compliments for one another. Kindest words between these wizards. If picking up paid work, I will consider both their work.

Attila's work is fantastic.
Please do check it out!

Hello,
This is the official topic for all Colorizer products.
My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras.
The following formats are supported at the moment, click the links for videos and details:
Fujifilm X-T3/X-T4 F-Log
Sony S-Log2/S-Gamut3.cine
Panasonic V-Log L & HLG
I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve:
- Fujifilm F-Log/F-Gamut
- Nikon N-Log/BT.2020
- Sony S-Log2/S-Gamut3.cine
- Z Cam ZLog2
- GoPro Protune
These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well.
I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user.
As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net.
Thank you for your attention,
Attila

Hello,
This is the official topic for all Colorizer products.
My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras.
The following formats are supported at the moment, click the links for videos and details:
Fujifilm X-T3/X-T4 F-Log
Sony S-Log2/S-Gamut3.cine
Panasonic V-Log L & HLG
I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve:
- Fujifilm F-Log/F-Gamut
- Nikon N-Log/BT.2020
- Sony S-Log2/S-Gamut3.cine
- Z Cam ZLog2
- GoPro Protune
These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well.
I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user.
As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net.
Thank you for your attention,
Attila

This is that moment, when I realise I've been looking at crushed blacks on my Fuji cameras ever since the X-T3 on my Intel MacBook Pro.
Also a big thanks to Colorizer / @Attila Bakosfor donating the LUT for BT.601 to BT.709 conversion.

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.

I just tested it on some Sony A6300 S-Log2/S-Gamut3.cine and Fuji X-T3 F-Log/F-Gamut clips and if you're after a precise conversion, the results are far from great. It can still be a timesaver though.

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.
 

I see a lot of mixed feelings on this thread, and that may be because this community is very demanding, in a good way

I would think that's because many of us owned THE NX1, which was so much ahead of it's time. Now that being said, I just got my XT4 a couple of days ago with a 16-55 2.8., and it's my first XT4 camera so keep that in mind while reading my first review so far. Also I'm a 70% video oriented 30% stills.
Also I have zero brand loyalty. I don't care about brands at all. If tomorrow Sony has the camera and lenses that suits my needs better I'll sell everything and jump ships. Just to give you a bit of context

I should also add that I own a Z6 and I find that it's an amazing camera with amazing (too few) lenses.
So far this is how I feel about the XT4 :

Ergonomics : It's a beautiful camera ! However I don't like the ergonomics to be honest. I think the camera feels bulky, it's like handling a brick. I'm still working to get the most practical set up and it feels like a lot can be customized in terms of buttons. So I'm pretty sure that I could get used to after a couple of weeks toying around. Now that being said, it doesn't compare in any way with the pleasure of holding the Z6. There are so many buttons in the back, and to me it feels like those big buttons on top of the Fuji that give the "vintage look" could also turn out to be useless and maybe in the way of better ergonomics. I don't know how much this participates in the Fuji identity, but to me it's more of a waste. Again, I'm not a "Fuji" shooter, just a filmmaker with a Fuji camera in his hands
I love how they have 2 different modes for stills / movies. I would think that this is now a norm in 2020 but kudos to Fuji to bring that to their camera, feels like they really listen to their user base.

Autofocus : I need more to get around all the AF settings but so far in terms of Face/eye tracking to me the AF lacks a lot behind Sony, AND Nikon (Nikon made a great job at improving the AF in the past months. I used it a lot during interviews and it was flawless in eye Af). 
Now that being said, the AF in stills, is incredibly snap and fast. But I don't think I could trust it for a documentary yet where I would have to run around a subject. I would trust Nikon AF, it's not as good as Sony or Canon, but I feel confident enough. Probably because it never "hunts" even when it loses its subject, it doesn't. So far I felt that the XT4 could hunt in eye tracking and actually even lose focus when the box for the eye was correctly placed ! So I need to dig more into this, but it feels strange. Again the box would lock the eye, but still focus on something else... 
I give the camera the benefit of the doubt because I haven't played around enough with all the settings yet, and also I feel like Fuji could bring an update on the AF firmware wise.

Video modes : what is there to say ? Internal 4k 10bit with F-log AND assist (Rec 709 lut) with no crop, 60p with a very small crop, 240fps in Full HD. However I haven't been able to find the 120fps mode, so I don't know if you have to make a special setting or what not...

Dynamic Range : That was one of my primary concern, and I feel like it's actually great. However the different picture profiles for video are IMHO way too contrasty and make everything looks like it was shot on a cheap smartphone (highlights are completely burnt etc). I'm going to film everything in Flog probably, and just apply a standard lut after wise.

Skin tones : Now that is something so important for filmmaker. I love how the Z6 has this very smooth skin tones. A bit too magenta, I keep dialing in some more green tones (especially when using Filmconvert). But skin tones feel very silky-smooth with the Z6 while still retaining some details. I'm not sure how much I love the skin tones from the XT4 in F-log, I would need a bit more time, but just the fact that its 10bit gives you more leeway for grading. For now I'd say that it lacks a bit of saturation. I have this feeling that many videos I have seen with the XT3/XT4 have very pale skin tones and lack a bit of contrast and texture. Now again that is more of an intuition so far. I have a strong feeling that if correctly graded this camera can deliver.
I can't wait to experiment with my clients to see how this goes (hopefully well !).

Stills : I haven't play much with still but the AF seemed very responsive, very fast, trustworthy. And you can tweak the Burt modes a lot.  

Battery life : seems really good ! I heard the XT3 had a weakness in this area, I can say that I wouldn't be afraid of using just one battery for a short interview job. But of course you always need at least two. They should have included a charger for the battery. That feels cheap. My Z6 had one.

IBIS : It's REALLY, REALLY GOOD. 90% of the time. And then sometimes it does something a bit weird. I would say, don't take IBIS for granted, rather lear how it works and use it to your advantage. It was never designed to replace a gimbal. However I could definitely see myself going around filming in the city without a tripod  And that is really COOL !

Flip screen : don't like it. I'd rather have the classic tilt camera. I couldn't see why Vloggers would need such a powerhouse camera to film themselves, not judging it's really just a thought. Fuji : you guys should dedicate the camera to "power users". Don't try to go in all the different directions. I'm only speaking for myself but I'm not a big fan of filming while looking outside of the axis of my camera. I don't want to look on the side it bring my balance off. I don't know if the floppy screen is something people have been asking ? But to me it's a downside. I don't know how you guys feel about it.
Overall : So far it's a great first impression. It's really funny to see a vintage looking camera actually performing like a monster. 10 bit 4K 60p F-log + assist almost no crop... That is insane.
I'm not a big fan of the handling of this brick, but I can't see why I couldn't find a sleeve, handle to make it more to my taste. I also read that this is already improved since XT3, so keep up the improvements Fuji
Also I love how this camera eats my 128GB Sandisk 95Mb/s with 4K @ 400mbps. That is really cool.

If Nikon comes up with a Z6 Mark 2 10bit 4K internal, will I keep my Fuji ? I honestly don't know, probably not. But the camera market is not about "what if", but "what is". So for now I'm very, very happy that I can be a hybrid shooter with IBIS, and 4K 10bit 1,5x crop factor. 

That's it for me  sorry for making this way too long ^^ 
 

Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE]
Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration.
This is the stress test image I'll use:

 
See what happens when you apply the Bleach Bypass LUT:

 
Now I use my tool in "box" mode with 1 iterations to create a new LUT:

 
This is "box" mode with 5 iterations:

 
More details on the site.

Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE]
Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration.
This is the stress test image I'll use:

 
See what happens when you apply the Bleach Bypass LUT:

 
Now I use my tool in "box" mode with 1 iterations to create a new LUT:

 
This is "box" mode with 5 iterations:

 
More details on the site.

Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE]
Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration.
This is the stress test image I'll use:

 
See what happens when you apply the Bleach Bypass LUT:

 
Now I use my tool in "box" mode with 1 iterations to create a new LUT:

 
This is "box" mode with 5 iterations:

 
More details on the site.

Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE]
Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration.
This is the stress test image I'll use:

 
See what happens when you apply the Bleach Bypass LUT:

 
Now I use my tool in "box" mode with 1 iterations to create a new LUT:

 
This is "box" mode with 5 iterations:

 
More details on the site.

Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE]
Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration.
This is the stress test image I'll use:

 
See what happens when you apply the Bleach Bypass LUT:

 
Now I use my tool in "box" mode with 1 iterations to create a new LUT:

 
This is "box" mode with 5 iterations:

 
More details on the site.

Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE]
Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration.
This is the stress test image I'll use:

 
See what happens when you apply the Bleach Bypass LUT:

 
Now I use my tool in "box" mode with 1 iterations to create a new LUT:

 
This is "box" mode with 5 iterations:

 
More details on the site.

A simple LUT smoothing fixes it, it's easy to do in Matlab, but I couldn't create an online version yet. It's on the todo list

It seems this LUT is not up to Fuji's standards, it has a few weird transitions:

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.

Yeah you're correct, but I already had a library of those charts from various sensors and stocks, so it made sense to keep adding to it. Plus it's also actually quite helpful to have so many samples within the colour space, rather than just a few samples right at the edges.
Thanks mate! Much appreciated.
 
Another interesting thing I found in testing is how much dynamic range the P6K actually has. According to the charts published by BMD and ARRI, when both cameras are exposed at ISO800, the Alexa has 1 stop extra range in the highlights, but approximately the same amount of stops in the shadows. In testing I found this to be pretty much spot on. I found I could expose one of the charts exactly one stop higher on the Alexa before it touched the clip point.
The interesting thing is how that actually translates in real world scenarios, and what that difference looks like.
Here are some crops of a scene shot on both cameras. In LogC, so the differences are visible. I matched exposure on the day using false colour, they're as close as I could get them. Probably less than 1/20th of a stop of difference in exposure.

The left image is the P6K. When comparing it to the Alexa image in the middle, thats exactly what 1 stop difference in the highlights looks like in a real world situation.
It's interesting to see what happens to that 1 stop difference when highlight recovery is enabled – the P6K actually retains more highlight detail.
Obviously you would never actually place important image information in that range (not that you would ever do that with the Alexa either). But if you need it create a smoother roll-off in anything neutral in colour like specular highlights, clouds etc, it is possible to outperform the Alexa in highlight dynamic range... sometimes.

Try exiftool. I believe that there's a FilmMode tag that has the info you need.

I can see why he needs raw, wb is totally off 😄

I can see why he needs raw, wb is totally off 😄

I can see why he needs raw, wb is totally off 😄

I can see why he needs raw, wb is totally off 😄