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Fuji X-T3 / X-T4 sticky topic


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DaVinci Resolve Studio 16.1 public beta 2 released • Support for Fujifilm F-Log colorspace Now it's possible to use  RCM and make color grading without LUT. 1a : F-LOG 1b :  Color

X-T3 in da house! Just a quick glimpse at the image, but I already have a feeling it's the best I've ever seen from a camera this price. Wonderful codec and detail. I am trying the Zhongyi S

Wow, you are really passionate about rolling shutter! ?

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3 hours ago, mercer said:

 

I’m curious why there are noise issues with the 2K if there isn’t in 4K?

Is it common practice to ETTR F-Log? Does anyone know where middle grey is at in F-Log?

 

Me too I am curious to know. If I find the time,  tomorrow or Saturday I do a test 2K vs 4K about moiré and noise. I'll share the file on google drive.

About exposing F-log, when I shoot a scene with a low contrast (very compress signal), I expose to the right. When I shoot a scene with high contrast, I expose to preserve the highlights.

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21 minutes ago, DanielVranic said:

Nope - I actively avoid the Eterna LUT - really burns the footage.

I use the Fuji Flog-709 LUT and I love it. 

So the Eterna LUT is a utility LUT and affects exposure? Or do you mean it is burning saturation and a look into the image.

Are you exposing to the right before using the FLog-709 LUT?

21 minutes ago, BrunoCH said:

Me too I am curious to know. If I find the time,  tomorrow or Saturday I do a test 2K vs 4K about moiré and noise. I'll share the file on google drive.

About exposing F-log, when I shoot a scene with a low contrast (very compress signal), I expose to the right. When I shoot a scene with high contrast, I expose to preserve the highlights.

Great info thanks, I look forward to your tests. 

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1 hour ago, mercer said:

So the Eterna LUT is a utility LUT and affects exposure? Or do you mean it is burning saturation and a look into the image.

Are you exposing to the right before using the FLog-709 LUT?

Great info thanks, I look forward to your tests. 

I will post some screenshots tonight to show you. Also. With 10Bit, I stopped exposing to the right for log. I like my highlights.

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On 11/28/2018 at 6:05 AM, Kisaha said:

And 2.8f, and no IS.

Not the modern workhorse lens that everyone else has.

For many people the 24-105mm f4 is their "workhorse lens", which is F4

On 11/28/2018 at 9:58 PM, austinchimp said:

I think there's also a bias in the kind of footage we've seen from both cameras. The Pocket seems to have been bought by more indie filmmaker types, while the Fuji seems to be in the hands of more photographers from what I can tell by going on YT and Vimeo. So I think the Pocket footage is appealing if you match that profile. A lot of the Fuji footage is badly shot, exposed and graded.


That first party is key. The type of people shooting with a camera will very heavily influence what we think a camera "looks like"

 

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I did a quick 2K vs 4K test. You can download "trimmed" copies into QT of the original files. Only the length changes from the originals. No transcoding.

For the first two files (79 and 80) I wanted to compare moiré. But I didn't reproduce moiré (it is however the same pullover I've get moiré). Just a little bit of moiré above the bottom button on the 2K file. Nothing on the 4K. Not enough to conclude that there is less moire in 4K. I will try to repeat a test in another way.

For files 82 and 83 I wanted to compare the noise. There is a little less noise on the 4K vs 2K in a 2K timeline in FCPX.

All files are F-Log H265 10bits All-I, 400Mbps for 4k and 200Mbps for 2K.

79 and 80 : 680 ISO exposed to preserve the highlights.

82 and 83 : 3200 ISO exposed on the right.

(82 and 83 are out of focus. It is very difficult to focus on a  Log ETTR)

https://drive.google.com/open?id=17e1c60bj81n8BQwoLP9xtQKKhCgOkC6a

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Did many more 2K vs 4K test this weekend. 4K wins by a huge margin every time. Noise is much uglier and footage gets really unusable past 5000 ISO. 4K is still OK. 

Still trying to find a workflow to convert to 709. Sony was much easier in Resolve to do Color Space Transform. Fuji doesn’t have an exact curve in their system. 

Had best luck so far using Color Space Transform and setting it to Cineon Log and Rec.2020. My second technique was using the Fuji 2020-709 LUT and then doing a manual S-Curve on multiple nodes  

 

If anyone know a better way, please let me know. 

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17 hours ago, DanielVranic said:

Did many more 2K vs 4K test this weekend. 4K wins by a huge margin every time. Noise is much uglier and footage gets really unusable past 5000 ISO. 4K is still OK. 

Still trying to find a workflow to convert to 709. Sony was much easier in Resolve to do Color Space Transform. Fuji doesn’t have an exact curve in their system. 

Had best luck so far using Color Space Transform and setting it to Cineon Log and Rec.2020. My second technique was using the Fuji 2020-709 LUT and then doing a manual S-Curve on multiple nodes  

 

If anyone know a better way, please let me know. 

For my part, the noise level difference 4K vs 2K isn’t so important to making me change workflow. Remember human perception is more sensitive to noise level change than noise itself when it is at a reasonable level. I don’t use ISO sensitivity as an exposure parameter (because the sensor only has one sensitivity actually). When I shoot, most of the time,  I use two sensitivity (one for exteriors and one for interiors) to maintain a constant noise level.

I use FCPX for editing and color grading.

 

11 hours ago, androidlad said:

2K/HD on X-T3 is derived from weighted horizontal pixel binning and vertical line skipping, it's one of the main features of the 3.76um generation Sony sensor, it's an on-chip operation so less work for Fuji and less processing requirement.

Thank you for these explanations.

Do you have links to share?

And for 4k so how's it going?

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7 minutes ago, BrunoCH said:

For my part, the noise level difference 4K vs 2K isn’t so important to making me change workflow. Remember human perception is more sensitive to noise level change than noise itself when it is at a reasonable level. I don’t use ISO sensitivity as an exposure parameter (because the sensor only has one sensitivity actually). When I shoot, most of the time,  I use two sensitivity (one for exteriors and one for interiors) to maintain a constant noise level.

I use FCPX for editing and color grading.

 

Thank you for these explanations.

Do you have links to share?

And for 4k so how's it going?

4K is super-sampled from 6240 x 3510 (<30p), 5266 x 2962 (60p).

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