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I WILL be getting a Fuji X-T3!


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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

Wow, you are really passionate about rolling shutter! ?

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

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Just a little test.

The same file; F-log. The same basic treatment : Delog + Auto WB.

Resolve RCM vs Resolve LUT vs FCPX LUT

 

jpg RCM : input color F-log + OFX tone mapping simple + curve to match LUT waveform.

jpg LUT : LUT Fuji WDR 709

jpg RCM WB :  same thing + auto WB with picker on the white wall.

jpg LUT WB : same thing + auto WB with picker on the same wall.

jpg LUT FCPX : LUT Fuji WDR 709

jpg LUT FCPX WB : same thing + auto WB with picker on the same white wall.

 

What do you think?

https://drive.google.com/file/d/1dwqr-sQ49vYlUVckkwZdQbpxizCSXk3R/view?usp=sharing

https://drive.google.com/drive/folders/1qJfwDUP64cxELYPyz44FoXW10GXsiM0y?usp=sharing

 

 

LUT FCPX WB.jpg

LUT FCPX.jpg

LUT WB.jpg

LUT.jpg

RCM WB.jpg

RCM.jpg

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I'm not sure about this yet, but RCM seems to have some kind of color toning. When I try Davinci YRGB + WDR LUT I get colors pretty close to what I get with my F-Log ACES profile. They both convert gamma and colorspace only, there is no special color treatment. But when I check the same clips in RCM they seem to be overall warmer, the greens are more yellowish, the blues are more cyanish, like a filmic LUT already applied :) In some situations it will be more pleasant to the eye but I wonder why it's happening. Part of this must be caused by the bad interpretation of the files, especially the yellowish greens, but this alone can't be the cause of such a big difference. Will continue testing.

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I tried to match the gamma & overall saturation here to see the color differences. Everything is done in the latest beta of Resolve.

1. WDR LUT
2. My ACES F-Log IDT
3. RCM
4. RCM with fixed YCbCr->RGB conversion.

WDR and ACES are pretty similar, the WDR has more saturated reds.
RCM is different in many patches, however if the input file is interpreted correctly it looks pretty close to the other two.
So in terms of color the differences are minor, once RCM is fixed. I believe the most difference will be caused by WB adjustments.

2_colortest_wdr_1.1.2.thumb.jpg.62f0f8b85a2bd1eab4db39042ac00949.jpg

1_colortest_aces_1.4.1.thumb.jpg.418ff300406f716f6150edd5b570f81c.jpg

3_colortest_rcm_1.3.1.thumb.jpg.7dc84e003fef0feeb40cebe119310d41.jpg

4_colortest_rcm_fixed_1.5.1.thumb.jpg.a63aa49d5a30e09623e9115d0acc80f1.jpg

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On 8/29/2019 at 5:18 PM, androidlad said:

As you may be aware, Fujifilm has registered three new cameras:

FF190001

FF190002 – X-Pro3

FF190003

One of them is a 44 x 33 large format video centric camera with 4K x 3K RGB output.

 

Fujifilm4.jpg

Expect a relevant announcement at IBC later this month.

Readout speed is believed to be ultra fast at < 12ms.

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@thephoenix

Yes the first one is nice. That’s Fuji LUT WDR + Auto WB in FCPX.

For HLG, I can’t help you. I don’t use it. Perhaps it’s time to go back to F-log :)

 

@Attila Bakos 

I like your contributions. They’re very instructive. But honestly, I don’t see any difference between your pictures ( or not significant). 

 

My thoughts are if I need to work quickly, I can use Fuji LUT in Fcpx because it’s my NLE. It’s possible to make a very nice color grade. But if I have time, I prefer to use the Resolve RCM. Skin tone, blue sky, green vegetation, and others colors are like I want. And very easy to work with.

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Hi all,

I found this thread a few weeks back and have been lurking on the forum ever since. It's been very helpful for getting more familiar with the X-T3, which I've been shooting on all summer. I'm slowly building out a mini-cine rig for it. I know some folks aren't fans of rigging small mirrorless cameras like this, but I've found it to be useful. Looking forward to swapping the Anker battery for a V-mount and adding a monitor or Ninja V.

 

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8 hours ago, BrunoCH said:

@Attila Bakos 

I like your contributions. They’re very instructive. But honestly, I don’t see any difference between your pictures ( or not significant).

That's kinda the point here, that once the interpretation issue is fixed in RCM there will be almost no difference. Right now RCM is different from the others but yeah, you have to open the files in separate tabs and click back and forth to see the difference. A real world scenario might be more telling.

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1 minute ago, Attila Bakos said:

That's kinda the point here, that once the interpretation issue is fixed in RCM there will be almost no difference. Right now RCM is different from the others but yeah, you have to open the files in separate tabs and click back and forth to see the difference. A real world scenario might be more telling.

what are your rcm settings as input ?

i am wondering if i do it right.

my workflow is that i shoot h265 internally then transcode to dnxhr using shutter encoder.

importing transcoded files in resolve. so wonder if it still as to be interpreted as a fuji file ? doing this for both flog and hlg.

same with ninja v usng dnxhr.

 

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1 minute ago, thephoenix said:

what are your rcm settings as input ?

i am wondering if i do it right.

my workflow is that i shoot h265 internally then transcode to dnxhr using shutter encoder.

importing transcoded files in resolve. so wonder if it still as to be interpreted as a fuji file ? doing this for both flog and hlg.

same with ninja v usng dnxhr.

 

I did my tests using Fujifilm F-Log as input color space, then Rec.709 Gamma 2.4 as timeline & output color space. I don't use HLG but for that I'd use Rec.2100 HLG as input, in fact that's automatically chosen by RCM if you import a Fuji HLG file. (in Resolve 16.1 beta 2)

About interpretation of F-Log files (didn't test HLG yet):
If you use the Ninja V then you're fine.
If you use internal footage then you're fine in Davinci YRGB and ACES, but not (yet) in RCM.
If you transcode the footage by doing a matrix conversion from BT.601 to BT.709 then you're fine.
If you transcode the footage without a matrix conversion and you preserve the original matrix coefficients flag, then you're fine in Davinci YRGB and ACES, but not (yet) in RCM.
If you transcode the footage without a matrix conversion and you omit (or simply rewrite) the matrix coefficients flag, then the footage will be interpreted incorrectly everywhere.

It all comes down to how shutter encoder works. I can only help with FFMPEG.

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1 minute ago, Attila Bakos said:

I did my tests using Fujifilm F-Log as input color space, then Rec.709 Gamma 2.4 as timeline & output color space. I don't use HLG but for that I'd use Rec.2100 HLG as input, in fact that's automatically chosen by RCM if you import a Fuji HLG file. (in Resolve 16.1 beta 2)

About interpretation of F-Log files (didn't test HLG yet):
If you use the Ninja V then you're fine.
If you use internal footage then you're fine in Davinci YRGB and ACES, but not (yet) in RCM.
If you transcode the footage by doing a matrix conversion from BT.601 to BT.709 then you're fine.
If you transcode the footage without a matrix conversion and you preserve the original matrix coefficients flag, then you're fine in Davinci YRGB and ACES, but not (yet) in RCM.
If you transcode the footage without a matrix conversion and you omit (or simply rewrite) the matrix coefficients flag, then the footage will be interpreted incorrectly everywhere.

It all comes down to how shutter encoder works. I can only help with FFMPEG.

shutter encoder is just a gui that works with ffmpeg. i have to see if it does change the matrix but i know i can change colorspace to rec 709

must be my eyes because i don't see fujifilm flog as input in resolve rcm ?

i think i will install 16b2 i am in final 16 at the moment

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4 minutes ago, thephoenix said:

shutter encoder is just a gui that works with ffmpeg. i have to see if it does change the matrix but i know i can change colorspace to rec 709

must be my eyes because i don't see fujifilm flog as input in resolve rcm ?

i think i will install 16b2 i am in final 16 at the moment

Yeah 16 doesn't have it, 16.1 b2 (the latest beta) added it.

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Just now, heart0less said:

Why do you transcode it? 

Can't you generate Optimized Media inside Resolve? I think it's much easier this way. 

i am not sure the free resolve does it. i think you need the paid version to handle h265.

last time i checked it didn't but it was few monthes ago

 

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