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Everything posted by androidlad

  1. There are BT.601-BT.709 3D LUTs that fix it, but not worth the hassle, especially if you grade with other LUTs on top. Assimilate Scratch is immune to this and shows the colour correctly.
  2. Just get a Ninja V and be done with internal recordings. Because all internal files are tagged with SDTV BT.601 transfer function (with the exception of HLG files), it causes some NLEs to misinterpret the colour, causing red turn bright orange and dimmer green.
  3. It's fully compliant with BT.2100 spec, which uses BT.2020 gamut.
  4. F-Log and HLG don't have that much of a difference in low light, however, HLG has an edge in terms of detail preservation and finer noise pattern - HLG makes full use of 0-1024 code value, while F-log throws away 0-95 (raised black level). NR is controlled by two NR settings, regular noise reduction and interframe noise reduction, with -4 and "off" setting there's no difference in NR between F-log and film sim/HLG.
  5. Sounds like the issue reported in the description of this video:
  6. What about "4K HDMI STANDBY QUALITY"?
  7. Check your HDMI output resolution setting and standby resolution is 4K not HD.
  8. XS Max has the best colour accuracy of all phones to date, period. The white point is dead on at 6500K. Colour/greyscale DeltaE are all below 3. The reason you think there's a slight yellow tint is because you're so used to seeing higher white point at around 7500K. Is your Samsung Galaxy display setting on "Adaptive" or any of the "AMOLED" mode? Only "Basic" gives you standard sRGB colours and most importantly D65 white point. I'm sure the S10+ demo unit also had display settings with maxed out saturation.
  9. No, HDR10+ added dynamic metadata. HDR10 can only do static metadata for tone mapping.
  10. Great! I’ve sent many feature requests and bug reports, using many names and email addresses ? But it’s better to contact your Fuji regional websites, Tokyo headquarter seems to only respond to messages written in Japanese.
  11. Try play both files with VLC and/or MPV.
  12. The files themselves are the same. The difference you are seeing is because of the Mac QuickTime gamma/colour shift. Put them in Premiere Pro and compare.
  13. WIth X-T3, the app records in 1080p. And there's an upcoming update for the app, maybe things could change. Fuji only has Eterna LUT, BT.709 LUT and a pure gamut transform LUT. The rest of the film sims, you'll have to use non-official ones. They aren't bad, they are standard transforms. The BT.709 WDR one is useful when a neutral image is required. Resolve's CST does not offer any roll-off so sometimes it may look harsh.
  14. Fuji 2.5mm remote release pin out-
  15. Yeah. There's no actual 16bit RAW stills cameras though, some of the medium format cameras output "16bit" but only using 14bit ADC, like all other cameras. Only recent Sony gen 4 gen 5 sensors (IMX461, IMX571) offer 16bit option, Fujifilm did not use it and are not going to use it for GFX100 mostly because the picture quality improvement is negligible.
  16. S1 uses IMX410, S1R uses a new TowerJazz sensor with evolved "Smart FSI". In video mode, sensor readout drive is 12bit ADC. There's no intentional capping, it's just current technological limits.
  17. 10bit log can efficiently store up to 16 stops of dynamic range. Panasonic is totally a codec expert, they developed AVC codec family based on H.264 (AVC-Intra, AVC-Ultra) for broadcast use.
  18. https://www.newsshooter.com/2019/02/18/polarpro-monitor-mount-for-the-dji-ronin-s/
  19. X-T2/X-H1 120fps is derived from line-skipping the full sensor, moire/aliasing/noise are severe, the video above (and a few similar ones) use heavy grain and aged film effect to cleverly mask those image artifacts. It's a nice workaround but has limited use. X-T3/X-T30 120fps improved considerably by incorporating weighted pixel-binning and reduced line-skipping (at the expense of 1.29x crop).
  20. Report this issue to Nikon and see if their engineer can replicate this https://www.nikonusa.com/en/about-nikon/contact-us.page
  21. It's Nikon proprietary, non-standard DC connector
  22. Your vintage lens is too soft to trigger edge detection algorithm. Try setting "sharpness" to +4, stopping down and shoot something with fine texture.
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