chadandreo

Does any know what effect Enabling the new Extended Dynamic Range Monitoring feature has on Premiere Pro? I cannot find anything online about it.

I hear where you’re coming from. I was originally just responding to your question about a Fuji that’s medium format and can shoot video. GFX 100 is fairly new, so I wasn’t sure if you heard of it. There are definitely cameras that works better for each specific job. I think the GFX as an amazing b-roll or specialty cam.

I dont think it would be hard to rig with the smallrig cage and accessories. Although I normally shoot on Red or c300 II, I built one one my XT3s for cinema and it works fine as a cinema camera. The reason why I mentioned the GFX 100, is because you mentioned a large sensor Fuji camera, which is by far the cheapest 4K Medium Format camera that can be used for cinema. It also does 2K60 and has a usable AF system. Comparable cameras that are capable of shooting video are $40K +.

GFX 100?

The battery life isn’t the best, but you can get 400 shots per a battery and with the battery grip or a portable is usb-c battery, i can film a 10 hour wedding without issue. I think this is the first time anyone has said the Fuji IQ is laughable, especially when it comes to color science. Maybe you need to tweak your settings or picture profile? i stopped using my 1DX II because of the XT3s photo and video quality.

FF Equals a larger camera and lenses. Defeats the purpose on the X line. They should keep it the way it is and own the Medium format and APSC market specs And color wise.

Does anyone if any PD portable battery pack will work with the Fuji X-T3? I already own the PowerCore 10000 and 26800, but I am considering getting the 5000 for short shoots.

X-T3 unless you can wait for the X-T4. X-T3 Specs 4K, 10-Bit, ALL Intra, 4:2:0, 400Mbps internal recording (Up to 30p) 4K/60p (in H264 mode), up to 200Mbps

I could’ve sworn he posted a video recently talking about the money he makes from YouTube, but it looks like it’s gone now.

It does.

DPAF and color science will probably be their main selling point.

XT3

I download the most recent LUT pack from Canon last week. I tested out the following LUTs: - CanonLog_10-to-BT709_FF_Ver.2.0.cube - CanonLog_10-to-WideDR_FF_Ver.2.0.cube - BT709_CanonLog-to-BT709_WideDR_17_FF_Ver.1.1.cube - BT709_CanonLog-to-BT709_WideDR_17_FN_Ver.1.1.cube This is the final result I got using PP Lumetri. I think it looks good, but I am not 100% happy with it due the amount of artifacts and noise at base iso, but I was able to correct those issues using Neat Noise. Thanks. Let me test out the different color spaces and see if it makes a difference.

I made sure that I used CanonLog which is Canon Log 1. I am using Version 2.0 Luts and I do not see those two you mentioned. Maybe version 2 doesnt work well with the 5D? Which color space do you recommend? Also, I just added a couple of screen-grabs with scopes.

I was wondering if anyone could help me with an issue I am having with Canon Log footage from the 5D Mark IV. In Premiere Pro, when I add Canon's Canon LOG to 709 LUT to the footage from the 5D, the highlights are completely blown on and the image is very contrasty, even though everything is perfectly exposed. I have tried the LUT on low contrast indoor scenes and high contrast outdoor scenes and the results are the same. Does anyone know what I am having this issue?

It definitely does for docu and run and gun shooters. Dual pixel becomes invaluable once you’ve tried it. Contrast AF isn’t reliable and too slow to be useable. Both cameras are built for different uses and shouldn’t be compared with each other.

Thank you for the detailed reply. I’ve used F-Log and loved the results I can’t imagine what the footage will look like with the extra stop of DR. I’ll give HLG a try.

As I mention, I did search. There are plenty of post that pop up for others cameras, especially the GH5, but nothing on the XT3. If you are familiar with any specific posts covering this and dont mind sharing, please do.

Is there a noticeable difference in Dynamic Range and highlight roll-off between F-Log and HLG? Also, is their a noticeable difference in noise since they use a different base ISO? I have not seen a post that covers the first question.

Ive attached a screen grab of the settings I was using. All of the clips that were transcoded had the same issue. I havent tried LT or 422 yet, but I will give that a shot.

I am using Adobe Media Encoder to transcode H.265 Fuji XT3 files to ProRes HQ and the audio is off on the transcoded footage. In Media Encoder, I selected the ProRes 422 HQ preset and selected match source. Also, most of the footage was shot 59.94. Can anyone help me to resolve this issue?

For the highest quality video and color grading when shooting F-Log 10-Bit, is it better to transcode to a specific codec or edit H.265 with proxies? Is there a noticeable difference? What’s the best codec I can transcode to? I own a Ninja V, but I only have one and most of my jobs require 2-4 cameras.

I have a 1dx II and I think the Fuji’s AF is actually pretty good, although the Canon still has an edge and has object tracking.

Excellent work! Can you mention what exactly you’re doing in RCM? Also, what ND filter are you using?