Attila Bakos

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:
 

Yes, but hopefully they fixed all these issues in 16. Will report back once I can test it. I'm still on 15.

Finally finished this project:
 
More info: http://colorizer.net/index.php?op=xt3

Nice work, thank you !
I'll buy it as soon as I get my X-T3 back !

Finally finished this project:
 
More info: http://colorizer.net/index.php?op=xt3

If you convert your clips anyway, why don't you convert the matrix? It's a bulletproof solution to this issue which I described in my video I recommended you to watch.
Or if you prefer a written version, here it is at the bottom of the page: http://colorizer.net/index.php?op=technical
It uses FFMPEG.

Here's a screen grab of the images in Resolve, the left screen is the XT3 file and the right is from the Ninja. I set them both to 300 and lined them up to form basically one image with a line in the middle. I thought that would be the easiest way to see if there's any difference in the colour. - both are set to Full in Clip Attributes. To my eyes, they're exactly the same, but if there is a difference, I wouldn't even think about it while shooting.
One thing I did notice though, is the capture from the Atomos is 2 or 3 frames behind the file straight from the camera, nothing major, and I'm sure it's not camera / recorder specific, but worth noting.
 
Edit:
If people want, I could also post screen grabs from the colour page, showing the histogram, vector scope, curves etc. But they don't change at all between the clips. Safe to say they're exactly the same image from that perspective too... 

Unfortunately I don't have time to go into the details right now, but I recommend you watch the video in the thread I linked earlier (previous page), it has the answers to most of your questions.
 
I like the oval, but the color transitions are a bit harsh around the sun. Nothing serious though, nice colors overall.

Thanks Attila, I used F-Log for this one and graded with Venice Cine lut; https://www.sierracreativeco.com.
The oval at 2:10 is from the lens, colours from the lut.

This is a bit oversimplified, a lot of cameras use the full range in their video files. Fuji is one of them.