Man I love Fuji for just keeping it up with upgrading our cameras for free. That's how you build a good costumer base that doesn;t want to switch system.
These comparisons are great! I often find problems with neon lights, especially red. It's exciting to see how much better the color is in those situations.
You should NOT use Rec.709-A as the output gamma in the node tree. Only do it in the project output settings whren using mac. Why? Rec.709 standard as its interpreted by modern systems today has something called ”dim surround compensation”. They take the gamma 2.4 video meant to be viewed in dim enviroments and then apply a compensation to essentially ”lift the gamms” to make the video look more like gamma 2.2, matching the display gamma so it looks natural in brighter enviroments Unfortunately, macOS completely ignores this. It has no such function within its comor management. Meaning you grade your video with no dim surround compensation applied, meaning the moment you export, your video will appear washed out. It’s because you graded the video ”too bright” while monitoring it in a way that looked darker than it was. Some people call this the ”gamma shift”. So the video graded was accidentally too bright inside resolve and now with the additional dim surround compensation, the video lacks the deep gamma you saw in the viewers. There’s a fix for this that many aren’t aware of. It was far simpler for DR to create the Rec.709-A profile than explain this to millions. What you want to do is enable colorsync for resolves viewers, which will map the rec709 image to be mapped to the DCI-P3 and gamma 2.2 taking full advantage of the display gamut. Set the ODT in the node to rec.709/rec.709. In the project settings, set the output to rec.709/rec.709-a. Why? Because Rec.709-A contains the dim surround compensation meaninf the image you’re seeing is not insccurate in terms of gamma, but now looks exatcly like it would when exported as rec.709. This is only for monitoring purposes. Once finished, export the video in rec.709/rec.709, turning off the dim surround comp. Also make sure when you grade and monitor the video in rec.709-a, you only grade the video in daylight like a living room where the tv usually is viewed and that the display brightness is no more than 200nits. 125nits would be ideal. Congrats, you now have the complete solution to the QT gamma shift issue.
The F-Log2 C WDR LUT has a big issue with yellow, and light orange hues, they become lime green tinted for some reason, both in davinci and Final Cut, so it's the lut that has an issue
Man I love Fuji for just keeping it up with upgrading our cameras for free. That's how you build a good costumer base that doesn;t want to switch system.
These comparisons are great! I often find problems with neon lights, especially red. It's exciting to see how much better the color is in those situations.
Glad it was helpful!🙏
You should NOT use Rec.709-A as the output gamma in the node tree. Only do it in the project output settings whren using mac. Why?
Rec.709 standard as its interpreted by modern systems today has something called ”dim surround compensation”. They take the gamma 2.4 video meant to be viewed in dim enviroments and then apply a compensation to essentially ”lift the gamms” to make the video look more like gamma 2.2, matching the display gamma so it looks natural in brighter enviroments
Unfortunately, macOS completely ignores this. It has no such function within its comor management. Meaning you grade your video with no dim surround compensation applied, meaning the moment you export, your video will appear washed out. It’s because you graded the video ”too bright” while monitoring it in a way that looked darker than it was. Some people call this the ”gamma shift”. So the video graded was accidentally too bright inside resolve and now with the additional dim surround compensation, the video lacks the deep gamma you saw in the viewers.
There’s a fix for this that many aren’t aware of. It was far simpler for DR to create the Rec.709-A profile than explain this to millions.
What you want to do is enable colorsync for resolves viewers, which will map the rec709 image to be mapped to the DCI-P3 and gamma 2.2 taking full advantage of the display gamut. Set the ODT in the node to rec.709/rec.709.
In the project settings, set the output to rec.709/rec.709-a. Why?
Because Rec.709-A contains the dim surround compensation meaninf the image you’re seeing is not insccurate in terms of gamma, but now looks exatcly like it would when exported as rec.709. This is only for monitoring purposes.
Once finished, export the video in rec.709/rec.709, turning off the dim surround comp.
Also make sure when you grade and monitor the video in rec.709-a, you only grade the video in daylight like a living room where the tv usually is viewed and that the display brightness is no more than 200nits. 125nits would be ideal.
Congrats, you now have the complete solution to the QT gamma shift issue.
Amazing! Thank you! 👏👏👏👏🙏
Thank you so much! I’m glad you enjoyed the video 🙏
The F-Log2 C WDR LUT has a big issue with yellow, and light orange hues, they become lime green tinted for some reason, both in davinci and Final Cut, so it's the lut that has an issue
That’s why I dont’t like using technical LUTs. I hope Blackmagic will support the new 2c sooner then later
why did'nt fuji put 36fps, 48fps, 96fps,.. & 24hz in the new firmware update ??
Shutter angle would be much appreciated as well
Brother Thnk you
thanks 👍👍👍👍👍👍
You’re Welcome 🙏
I want to work in premier pro
Then you will have to rely on Fuji’s provided luts. Or you can use premier for editing and learn DaVinci for colors 😊
14bit to 12bit ?????????????
Flog2c samples from 14bit instead of 12
@ what do you mean by 14bit ? Codecs are 10bit 422 or RAW 12bit …. Where did you get 14bit ,. I don’t understand what you are talking about??
I’m not talking about codecs here. 14 bit refers to bits-per-pixel that comes directly from a sensor. And new profile samples from those 14 bits.
@ a new profile of what 14bit ?
@ I think you are referring to 14bit colors ?
these youtube camera tests always miss the most important : the skintones,,,,
will try to include it next time! Thanks for comment