Attila Bakos

Nice DR straight out of cam:
 

Nice DR straight out of cam:
 

Out of curiosity I created two videos from a UHD sized TIF with lots of fine detail, once with SAO and SIS enabled, then disabled. I used the x265 library included in ffmpeg using CRF 3 for a raised bitrate and no other parameters besides SAO/SIS. I see absolutely no difference between the two versions even at 400% magnification. Then I thought maybe it's because there's no movement as it's a still image. So I downloaded some DNG's from Blackmagic's website, exported a short clip in Resolve using lossless AVI, and used the same ffmpeg scripts. Again, zero difference between the smoothed and non-smoothed versions. I checked the files with mediainfo to see the if the encoding parameters were passed to the x265 library and they are there.

To make it short: if the hardware encoder works in a similar way (and I didn't fuck up my test somehow), I wouldn't worry about detail loss.

I'll look into this as well when my X-T3 arrives. Ordered it today.

Nope it was an auto ISO problem, Zed even mentions it in this video from 6:40:
 
Edit: funny thing is that you as the creator of this thread specifically mention smooth auto iso as a feature of v1.10:

Does anyone know a smart way to mount this to the X-T3? Anker PowerCore+ 26800 PD
According to Fuji, it should give you 400 mins of 4K60 recording time, compared to 40 mins with the battery.

The 18-55 is what it is, a small, cheap, above average kit lens, the AF is good and smooth. I've yet to try the 16-55, so can't give a direct comparison, but the 18-55 doesn't have the soul of the prime lens, which is to be expected. 

It's on vimeo as well, the description says 18-55: https://vimeo.com/195452189

Rolling shutter tests here:
4k 24p: https://vimeo.com/292103456/f01f36ff9b
4k 60p: https://vimeo.com/292103784/bae8f67cef
1080p24: https://vimeo.com/292104075/3cca0aa757
1080p60: https://vimeo.com/292104319/73eacbf42b
1080p120 (24fps playback): https://vimeo.com/292104581/7488279a51

The Fringer adapter is looking good on the X-T3:
 

AF test with older primes compared to X-T2. X-T3 focuses faster with less hunting, also continuous AF seems to be more confident, however the transition between close and far subjects is not butter smooth. Might be better with newer lenses.
 

Well I just created another tool, which does exactly that, it can combine/merge 3DLUTs: http://colorizer.net/index.php?op=lut_combiner
It's in beta testing state, please tell me if you find any errors.

It's not a good idea to judge banding by youtube footage.
If I apply more contrast to the youtube frame to show banding, this is what I get:

Now if I go to vimeo and download the original ungraded version, and apply about the same contrast, this is what I get:

 
And the original ungraded version uploaded to vimeo is still 8bit! In 10bit you will have even less banding.

It's not a good idea to judge banding by youtube footage.
If I apply more contrast to the youtube frame to show banding, this is what I get:

Now if I go to vimeo and download the original ungraded version, and apply about the same contrast, this is what I get:

 
And the original ungraded version uploaded to vimeo is still 8bit! In 10bit you will have even less banding.

It's not a good idea to judge banding by youtube footage.
If I apply more contrast to the youtube frame to show banding, this is what I get:

Now if I go to vimeo and download the original ungraded version, and apply about the same contrast, this is what I get:

 
And the original ungraded version uploaded to vimeo is still 8bit! In 10bit you will have even less banding.

It's not a good idea to judge banding by youtube footage.
If I apply more contrast to the youtube frame to show banding, this is what I get:

Now if I go to vimeo and download the original ungraded version, and apply about the same contrast, this is what I get:

 
And the original ungraded version uploaded to vimeo is still 8bit! In 10bit you will have even less banding.

While it's true that H.265 can have the same quality as H.264 with approx. 50% of the bitrate, it's only at low bitrates, like streaming. As far as I remember at such high bitrates like 400Mbps the difference would be almost non existent, but I can't show you any test at the moment that proves this, maybe someone else can.

To me it seems like 4K60 10bit 4:2:0 internal, and 4:2:2 external.

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.