DanielVranic

I have actually used Flog in low-light with success and failed at HLG - HLG got UGLY in low light. FLog did not. Plus having the 10BIt already means you dont have to overexpose your log footage... I have done test after test and FLog is still superior

Hello everyone! Been looking around quite a bit to see what is the best/most affordable (trying to balance that) adapter to go anamorphic on this lens. My 44-4 is Speedboosted so my XT3 has the full frame view. In alot of my research I keep finding people who are faking it with filters and mods to the lens, but nothing "true" anamorphic. What would be the best add-on package for this?

Yes the 16-55 was more natural to me.

For me, I used both side by side and ended up with the 16-55mm. The 18 was good and the AF was quick. I found it quicker and more natural-looking? if that makes sense. Almost like a skilled person with a follow focus. I also use the Ronin-S, there is no direct compatibility between them, but the Ronin is OK. Looking back, I probably would have bought something else.

Super weird. Never experienced that before. I will dig in.

Hey, I just re-exported it and when reimported into another project I had no issues.

Sounds great. In the meantime with the GHa LUT work with my X-T3 footage as it is? Anything I have to do to make it work?

I will look into this as soon as I get home. Thanks!

On the Fuji XT3 forum, I did put together a Powergrade on how I personally grade my Fuji 10Bit FLog footage to get it a similar "Alexa" look. Video Coming Soon! Process_1.24.1.dpx

This is the powergrade. I will be making a video on this soon Process_1.24.1.dpx

I do my curves while still in the larger colorspace. I have no idea if it makes a difference but it makes me feel better.

From what I have found and studied grading my XT3 footage, the Fuji LUTS seem to overstretch and burn the footage. My workflow is as follows -(making a video on this soon, as my video I shot in Malibu has gotten many PM's about how I colored it) Node 1. - White Balance tweaks and then I set it to Monochrome Node 2 - Lift, Gamma, Gain, or Curves to get the image you want - Node 3 - CST - Rec2020-Rec709 Go back to Node1 and kill the monochrome and group the 3 nodes as one compound node. Node 4- CST - Rec709, Rec709 - Arri Alexa, LogC- do NOT select Tone Mapping Node 5 - use the Alexa-709 LUT from either LUTCalc or the one that comes with Resolve Node 6 and onward - slight rebalance is needed after the Alexa conversion, Sat, MD, slight curves. Compound that into a second compound node. This makes excellent color and most importantly, a gorgeous highlight roll-off. I have built this into a PowerGrade if anyone wants it.

The LUT's that Fuji provide are pretty bad fyi. Much much better off doing a Color Space Transform and manual curves.

Hello. Any chance of this LUT being made for the Fuji system. I have developed a PowerGrade that is doing it for the Fuji system but that is not always the most convenient.

I am GAME for a C100mk3. Also, more companies announcing ProResRAW would be awesome.... lookin at you Fuji.

Not sure on the Tilta answer. BUT i use lots of vintage glass, and make sure that your dial is set to M.

Hey guys! This year instead of just going to the NAMM Show and then back home to Fort Wayne, I decided to be a bit of a tourist! Took my parents with me and went to the filming location of the original Planet of the Apes. (my fathers favorite movie of all time)

I go to the NAMM show every year, as I work for a major player in the music industry, and me and my parents headed up to Point Dume.

I just have not had the same experience. I took my rig out to CA for the NAMM show and walked around the beaches in Malibu with it, and every piece of FLog footage transformed to LogC has been gorgous ald lovely sky shots with no evidence of any banding at all, even zoomed in 300% in Davinci. Shot a bit of stuff HLG and the exposure was at 0.0 the entire time, just walking around LAX and so far, I have not had any success.

Looks great!!! How did you process the HLG?

Use LUTCalc to get your footage to LogC and then to 709 from that. That solved it for me

in resolve you have to hit "options" during import and select "all files" and it will see it

Did figure out the Juan Melara Linny LUT, looks like you have to into the PowerGrade's and tweak the HSL values to get it to not tear the footage. On its own the Linny broke the color blue and some shades of red. With the HSL adjusted and then brought down in another corrector node, it works fine. I will post tests soon. -dv

That was my issue a few pages back, the Fuji LUTS almost think that the Log is flatter than it is. Those new Arri Luts are king currently tho. Been making 3 nodes with it. 1. Flog to LogC - 2. (corrections) 3. LogC to 709. Amazing results.

Just used these on a project last night, worked amazingly! Blown away. It makes an incredible platform for grading