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Attila Bakos

Film simulation 3D LUTs for Fujifilm X-T2 F-Log

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23 minutes ago, Don Kotlos said:

Nice. And if you don't have a fuji but want to get these simulations, you can find the rec709->film simulations LUTs here:

If you accept my opinion, you should work on your interpolation, the transitions of your LUTs are very rough. I'll post an example in your thread soon.

 

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I downloaded an X-H1 F-Log footage shot by Ryan Carlson, you can find the sources here: https://www.youtube.com/watch?v=iTVzlV6trak

I applied WB correction to the eye, then my LUTs, then the same contrast curve to all versions. Again, the LUTs are available as a free download from colorizer.net.

When you use them on X-H1 footage, switch the clips to use video levels!

Original F-Log

0_f-log.thumb.jpg.8e2a6d03b19793d651b2052fc454ca68.jpg

Provia

1_provia.thumb.jpg.f8d65fa7c553887ddf7fd082cab2a40f.jpg

Velvia

2_velvia.thumb.jpg.34986fa194910abe0909b845f067bc21.jpg

Astia

3_astia.thumb.jpg.229a8d48a4f474be7ea075a5982ba53c.jpg

Classic Chrome

4_cchrome.thumb.jpg.45baafa297832ada0d223784b5ec3e82.jpg

Pro Neg Hi

5_proneghi.thumb.jpg.407c22aa8de6e4c446afd273dec54025.jpg

Pro Neg Std

6_pronegstd.thumb.jpg.0be4bc737b50c777e586d80f965f8b12.jpg

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Nice video Attila! God I can't believe how good the Fuji stuff looks. It's not ALWAYS right, but when it is - god damn!!

Really making me re-consider the X-H1 over the A7 III. 

Edit: Oh wait, this footage is actually from the XT2. Damn! Hah. Who needs FLOG when the standard profiles already have as much dynamic range as necessary. 

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Going to download these samples. Looks like there's lots of macro blocking. Looks like GH4 footage honestly, the GH5 is way cleaner. Jumping on the 10 bit train was a good decision for sure.

Eterna should be a better option on the X-H1. Will try and see...

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41 minutes ago, Inazuma said:

Edit: Oh wait, this footage is actually from the XT2. Damn! Hah. Who needs FLOG when the standard profiles already have as much dynamic range as necessary. 

Yeah I used my X-T2 to create the LUTs, I just tried them on the X-H1 too and they seemed to work. I sold my X-T2 but I'm not sure if it was a good idea. I wanted to get the X-H1, but it has serious AF issues, lots of moiré/aliasing in not just 120p, but 60p as well, and I've seen jerky movement with IBIS in more videos. In many ways the A7III looks better, but I can't leave Fuji just yet, I love the colors and their lenses. With my method I could create Fuji LUTs for the Sony though, but I will wait and see if Fuji can fix the mentioned issues.

@deezid is unfortunately right, when you shoot F-log, there will be blocky noise which is not, or not entirely related to compression, and I see it especially in the red channel. At first I thought they fixed this in the X-H1, but now I see it in Ryan Carlson's footage. I had this even with externally recorded ProRes on the X-T2.

This is the red channel after nothing but a color space conversion and an s-curve:

red_channel.thumb.jpg.70ced8b9c0306c1073348a7cf9404772.jpg

Once you start pushing the footage, you will need heavy noise reduction. I'm not sure if this is normal.

This is the red channel of ProRes from the X-T2 + Video Assist 4K, again, only color space transformation and s-curve:

red_channel_xt2_prores.thumb.jpg.d2e3ff74f1af08d6445caa9f89c2dc08.jpg

 

You can't see if from these still images but this noise is all over the face, especially problematic in the darker parts.

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Looked at the eterna footage. Looks pretty good to me. No crazy oversharpening like internal X-T2 footage anymore. Quite organic actually with some nice color and smooth grain.

 

@Attila Bakos

yh, that sucks. Was pretty hard for me to deal with it in Resolve (GH4 V-Log footage). Almost impossible to get rid of.

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2 minutes ago, Attila Bakos said:

Can anyone tell if S-Log2 from the newer Sony bodies is cleaner?

Only tried the A7SII. Was a terrible experience with skies or other plain backgrounds. S-Log 3 completely unusable, even worse than V-Log L on the GH4.

Cine4 + Pro Color or Sgamut3.cine was the go-to with similar dynamic range but way cleaner.

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I'm just checking some outdoors S-Log2 footage coming from the A7RII, and the red channel is almost as bad as the Fuji's. I don't know what to think, maybe this is what you get with 8bit log. I'll try to download some 10bit GH5 V-Log L soon and see if 10bit makes a difference.

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1 minute ago, Attila Bakos said:

I'm just checking some outdoors S-Log2 footage coming from the A7RII, and the red channel is almost as bad as the Fuji's. I don't know what to think, maybe this is what you get with 8bit log. I'll try to download some 10bit GH5 V-Log L soon and see if 10bit makes a difference.

The cleanest 8 bit Log footage I've seen so far comes from Canon (C200 e.g), comes close to 10 Bit V-Log on the GH5 which is amazing.

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On 3/11/2018 at 8:36 AM, deezid said:

Only tried the A7SII. Was a terrible experience with skies or other plain backgrounds. S-Log 3 completely unusable, even worse than V-Log L on the GH4.

Cine4 + Pro Color or Sgamut3.cine was the go-to with similar dynamic range but way cleaner.

Shooting internally or externally?  S-Log3 is too much for the internal codec to handle.  Comes out fine on higher quality external recorders.  S-Log2 is also fine internally.

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@Attila Bakos Hello! I just made a donation to you at colorizer.net and thanks for creating this LUTS. Is there any consideration still to make a flat Eterna LUT? I just find the backed in contrast of Fuji's Eterna LUT too severe as a starting point but I do think the color is beautiful. 

Curious. Still shooting with my X-T2.

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7 hours ago, Walter H said:

@Attila Bakos Hello! I just made a donation to you at colorizer.net and thanks for creating this LUTS. Is there any consideration still to make a flat Eterna LUT? I just find the backed in contrast of Fuji's Eterna LUT too severe as a starting point but I do think the color is beautiful. 

Curious. Still shooting with my X-T2.

Thanks a lot! I don't have a Fuji body at the moment, but I have some savings for the X-T3. If it turns out to be good then I'll make new LUTs. Until then visit my experimental project: http://colorizer.net/index.php?op=lut_contrast
With this tool you can remove the contrast curve of a 3D LUT. With the method I use the curve of the Eterna LUT can't be removed without distortion of the RGB transformation, but you won't necessarily see it in real-life footage. Maybe try 50% strength or less.

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