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I believe this was all in ProRes LT

Thanks man!

This was a few lenses, contax zeiss 35mm f2.8 on the rollers and then we also used a 21mm f2.8, 135mm f2.8, and a Nikon 50-300mm

yes, F-log always had this problem because of BT.603 matrix . But, HLG is accurate

@@DanielTroyer yes! Think of it as a picture profile.

@ yes obviously, but flog is only read out from the sensor at 12bit, so I’m assuming fLog2c is still being read out at 14bits like flog2 standard. Only seems reasonable to assume.

That's safe to assume, otherwise we would see a difference in DR, and I didn't notice any.

@@Mrcheesydancer not yet! Next test I will try that out

@@wearetrackclub thank you!

Fujifilm released an Flog2C LUT, I tested briefly, looks pretty good. I will have to test that further in the next video. Thanks!

Haha yes i noticed that after I filmed the video. Crazy!

Thanks man!

Thank you!

I want to know this as well!

Yes LogC3!

@@Mikeaguado LogC3!

@@t_c Thank you!

Hi Tom, which Arri Wide Gamut did you use, 3 or 4? I’ve been experimenting with flog2c using a CST with the following parameters: AWG4/ArriLogC3 -> Rec.709 Gamma 2.2. Is this similar to what you did here? My results look really good with better color representation and better color density with some specific colors like red, green, and orange (I haven’t tested footage with other prominent colors). Cheers

Not sure yet, may be too soon to tell. I saw Fujifilm released an flog2c LUT though.

Glad to help!

Hey thanks for stopping by! 🤠

they fixed it in HLG years ago

that's how fuji is describing it

considerably more, even more than the uncompressed DNG raw extracted using Assimilate from the atomos shogun connect

Yes exactly, that's how my correction LUT works for flog2. However flog2c seems to be a lot more accurate in terms of capturing the proper hue.

Don’t worry I’ll yell at him if he sells it

Yes! I still have it, needs work! Thanks for watching.

Yes I do understand what you're saying. In this case I didn't use the LUTs released by Fujifilm, it was done in Resolve. Either way I appreciate that this color gives you a much better starting point to work with than flog2.

Can confirm, while the differences are more subtle in IDTs, I've used a proper IDT based on Fujis datasheet in ACES for FLOG2C and on some shots it is night and day. All the colors are more accurate, the ACES IDT just seems to close the difference gap a little, but the FLOG 2 is still leagues behind. Shooting tail lights, neon, that's obvious, but same with flowers, and extremely complex mixed lighting or high noon / brutal overhead lights. I tested on all white balances including customs, shot it out against all modes, and the best surprise, not only is it the best of the in camera modes with the least chroma smoothing under the hood, basically no dead pixels even when changing modes back and forth all day on a low battery, and with the same rolling shutter as F LOG 2, but it's also to my eye and the scopes/waveforms superior to uncompressed CinemaDNG raw, using Assimilate Play Pro to extract 12 bit - it's not as good and doesn't have the same level of color detail in the skies. It's by far the best mode to shoot in and possibly the single thing that makes it like shooting on a Venice or a classic Varicam 35/Alexa. Hats off to Fuji, this is the coolest fucking shit.

@@area51pictures this is great to hear. I recently did a volunteer multicam shoot of a concert where every camera was a different brand (Several Sonys, two Fujis, and a few Canons)… and believe it or not they mostly matched bang on, except the red hues were weirdly bright on the Fuji. It was admittedly low CRI concert lighting, but still. I ended up solving it with a custom 3x3 matrix, using a MacBeth chart and my own python script that is akin to “mmColorTarget” in Nuke. It solved it perfectly, but it was certainly annoying and strange it was so far off. So I’m guessing this update fixes that. In fact I think that’s most of what Fuji Flog 2 C is about. It’s probably a working space closer to whatever sensor native is for Fuji’s recent cameras. I think BT.2020 is not the best as a working space out of camera, as it probably required some tricky “best fit” trades offs to reshape things, which is all much better done in post with a proper tonemapper these days when possible, especially when trying to match with other camera observers.

@@t_cwhich IDT did you use in Resolve?

DEFINE_ACES_PARAM(IS_PARAMETRIC_ACES_TRANSFORM: 0) /** * F-log2C to ACES AP0 conversion. * Goes from F-Log2C and F-Gamut C gamut * to scene linear, ACES AP0 gamut. * * This can be used as an IDT in Resolve. */ __DEVICE__ inline float flog2c_to_linear(float t) { const float a = 5.555556f; const float b = 0.064829f; const float c = 0.245281f; const float d = 0.384316f; const float e = 8.799461f; const float f = 0.092864f; const float cut1 = 0.000889f; // Should be equal to ((cut2 - f) / e) const float cut2 = 0.100686685370811f; // should be equal to (e * cut1 + f) if (t >= cut2) { return _exp10f((t - d) / c) / a - b / a; } else { return ((t - f) / e); } } // Used values calculated from color.support/colorspacecalculator.html // source color space F-Gamut C and Output ACES AP0, with CAT02 chromatic adaptation. __CONSTANT__ float matrix[9] = { 0.840895 , 0.027528 , 0.131577, 0.000920 , 1.007390 ,-0.008310, -0.000560 ,-0.000776 , 1.001336 }; __DEVICE__ float3 transform(int p_Width, int p_Height, int p_X, int p_Y, float p_R, float p_G, float p_B) { float r = flog2c_to_linear(p_R); float g = flog2c_to_linear(p_G); float b = flog2c_to_linear(p_B); float r2 = ( matrix[0] * r) + ( matrix[1] * g) + ( matrix[2] * b); float g2 = ( matrix[3] * r) + ( matrix[4] * g) + ( matrix[5] * b); float b2 = ( matrix[6] * r) + ( matrix[7] * g) + ( matrix[8] * b); float3 res = to_float3(r2, g2, b2); return res; }

It's basically idential to flog2 in terms of how you should expose. Native ISO remains the same.

@@t_c Then i'm asking the same question for flog2, thanks.

@@OzanTanOh sorry! Typically I expose about 1 stop over but depends on the scene. Always make sure your skintones are exposed well if you’re filming people. I’ve found the xh2s recovers highlights very well, so I always prefer over exposing a tad Its native iso is 1250

@@TlarkArts I guess I need to use exposure compensation to expose 1 stop over, but I can't change the exposure compensation when shooting in manual mode. How can I expose 1 stop over, I would be very happy if you could help me.

Thank you, yes it seems like they controlled everything much better with this.

Agreed!

Are you saying its better than the footage from the bmcc? Although to be precise B Raw is not a log profile but the codec...

Thanks! Hopefully I can get some testing done soon.

Good to note, I will test in the next one!

Sure thing, I can include that in the next test. Thanks!

All footage was converted with a CST flog2 to rec709 using davinci resolve and the arri logc as the base. This has always been my first step for converting flog2 to rec709 for all of my xh2s files. Everything you see in the video only has a conversion lut to get it to rec709 with no other adjustments.

Also - I was informed Fujifilm did release flog2C > 709 LUTs as well. I just tested with the official Fujifilm > 709 LUTs and results are pretty much the same. For my next test with the ARRI I will show that in further detail. Good question though, I should have clarified this in the video.

@@t_c Ok, because if you use the regular FLOG2 conversion lut which is designed for a smaller color space, the results should be totally off, if I understand correctly. I personally am quite new to color grading but have an understanding of color spaces from photography. For my tests with F-Log2 I have used Fujis LUTs but prefer color spaces transformation in Resolve so I am curious what kind of results are correct and/or possible.

@@jayzn1931 According to my test with the official flog2c LUT, there is a difference but it's not much. I also prefer the CST in resolve, that is what I used in this video.

Is rec709 better than rec2020?

Thank you! This was using Serr's FilmVision as a base, it is an awesome film emulation

Son?

@@t_c missed u dad

So far loving the new update!

Fuji marketing enters the chat

Love the video dude

@ thank you!

I never knew how bad we had it before! Haha but that is an extreme use-case. In real life the lamp is pretty vibrant lol

Yes, a little more wiggle room for coloring in post which is nice.

Of course, however this is a preliminary test as I mentioned. This was a very quick and dirty test that I was doing ahead of my shoot with the camera tomorrow to see if it was a viable solution. Thanks for watching!

lamp test tells it all homie

Thank you, I will keep you posted with that.