androidlad

Just 2.2 for BT.709, 100nit peak white. Theatrical DCI-P3 uses gamma 2.6 with 48nit peak white, but it's meant for reflected view projection screens. NEVER EVER grade any theatrical projects on a direct view display.

Just got word from Light Illusion that only PV270 has true 3D LUT hardware calibration (17x17x17 3D LUT), other models with hardware calibration only do 1D LUT + 3x3 matrix.

Cool, I use Alexa X2 because there's a nice saturation roll-off. But it's all quite customisable in LUTCalc.

Nice. I think you got the shutter speed mixed up though?

https://www.thecockcamera.com/ Absolutely DISGUSTING that it only shoots 720/30p and 1080/15p!

Because you locked the WB, magenta was added to HLG. The camera applies the same WB setting to all picture profiles. If you don't use auto WB and make sure WB shift is 0, there's no magenta at all. Please do another more controlled test with everything manual, then make your conclusions.

It changes everything. In auto WB, the camera adds more magenta to HLG. In manual WB, with WB shift at 0, F-log still has some magenta while HLG truely has 0. By the way, the opposite of magenta is green, not blue.

The LUT is properly gamma and gamut mapped Alexa 709. This way you get better DR distribution than F-log. F-log throws away 0-90 in the 10bit range and has banding/blocking issue as well as magenta cast. You used auto WB, with manual kelvin and tint adjustment the magenta hue is completely absent. See my original post.

2.91um pixel architecture, 100MP @ 10fps, 6K video using 12bit ADC with on-chip binning/line-skipping. 4K RGB 4:4:4 video with on-chip colour-aware binning.

Looks like the sensor is IMX271. They could have gone the more feature-rich IMX571 in X-T3, but I suspect they couldn't meet the higher MOQ.

See my F-Log/HLG comparison post, HLG already looks visibly darker with matching exposure, it's impossible for your HLG shot to be 2 stops underexposed. I suspect that you got it mixed up, f/4 for HLG and f/8 for F-log. FCPX and QT only apply a BT.2020 > BT.709 gamut mapping to HLG material, the gamma curve is untouched. I was able to recreate your FCPX look by applying a BT.2020 gamut to Alexa LUT (gamma passthrough): Since HLG is an HDR curve, exposing it as if it's SDR won't make full use of it's optimised distribution of DR. You are also looking at the images on SDR displays with no real tone-mapping (as mentioned above, FCPX/QT just make it more saturated). I shoot HLG strict with external monitor/recorder and load the BT.2100 to Alexa LUT to preview and assist in exposing correctly. See the difference between the gamma curves and the push in shadow/midtone range for better highlight DR and roll-off:

Thanks for the link. I noticed that WB was set to auto for both shots, so we don't really know what kelvin and tint the camera decided to use. Are you sure F-log was f/4 and HLG was f/8? Because when applying F-log/BT.2100 to Alexa LUT, HLG shot still looks very overexposed. It's really important to expose HLG correctly because it maps 18% grey at a low 22IRE. F-Log to Alexa: BT.2100 to Alexa:

What bitrate did you use? And LUTs? If you used Premiere/Resolve, did you apply the colour shift correction on F-log footage? If you shot at base ISO 640/1000, the difference should be 2/3 stop, not 2 full stop. HLG does have a cooler WB across the board.

I suspect that he didn't check "Use Maximum Render Quality" and "Render at Maximum Depth" in Premiere/Media Encoder.

http://www.fujifilm.com/contact/ Either your own country, or Tokyo HQ at the bottom.

No there's no 48fps option, 50fps is just 50fps. But Fuji offers 1/96s shutter speed. I've requested Fuji to add 48fps option, if you want it too, contact them and request it.

I meant altering the tags to all BT.709 as well as removing the full range tag (or deliberately changing it to limited), because I heard Premiere Pro handles full range tagged files as yuvj420p format and decode using the wrong matrix regardless of resolution. Could you experiment with that if you have time? Thanks.

Interesting. In Premiere Pro, that LUT gives a perfect visual match. Do you think altering the tags on H.264/H.265 files could be achieved without transcoding? And in batch?

E-mount flange distance is 18mm while X-mount is 17.7mm. A 0.3mm thin speedbooster would require alien technology.

Disable iGPU in BIOS.

Check your laptop GPU driver if it's the latest.

Not quite. For storytelling purposes, you'd want the highlights to hold as much detail as possible while rolling off smoothly into clipped white. In your shot the roll-off is indeed nice, well done. But with a higher DR camera, you'd be able to see what's outside the window, so there'd be some context for this scene.

Because X-T2 had NR at 0 and can't be changed to -4, while X-T3 was tested at -4. I'm pretty sure if we crank up the NR to +4 and also turn on Interframe NR, the DR would easily reach 13.

Exactly, CMOS sensors respond linearly to light, so doubling light intensity does mean doubling the bit value. The linear factor between scene intensity and bit value is 1. Because in a photodiode, incident photons free up the same amount of electrons. This is why extending DR is best achieved by employing multiple ADCs with multiple amplifications, so there's an artificial "non-linearity".

It will definitely be higher than A7S II due to significantly lower conversion noise and better quantum efficiency.