I might be late here, but I believe Fujifilm as officially released information stating that the f-log and f-log2 color space is in REC 2020. Although the selected v-gamut looks pretty amazing this way!.
Very few people probably know this trick, but you can supercharge the X-T4 among other mirrorless cameras, to deliver ARRI quality colors and roll-off's by using the LUT from Emotivecolor. In the package you even get a LUT that can transform Eterna back to F-Log, which is preferable in non-high contrast situations to avoid all the crappy artifacts F-Log originally introduces if you use it in unfitting scenarios. Couple it with the dehancer plugins for Resolve, run it through Cineon Film Log and slap the Kodak 2383 LUT on at the very end. This gives you so ridiculously much room to play with the grading and makes it possible to archieve a look far beyond what the camera is natively able to deliver. I've exported a few before/after stills from some footage I shot and the results are absolutely gorgeous every time, when it's being put through this process. I'm not affiliated in any way with the company, but this is the king of ARRI LUT's out there - cause it delivers every time! It's originally intended as a tool for matching cameras, if you had a-roll shot on ARRI and b-roll shot on other brands like Sony, Panasonic, Fuji etc. It takes advantage of computerized color, is all done in C++ and compiled into a LUT that even works flawlessly on Atomos products when you're in the field. Day: freeimage.host/i/HYAgsxs freeimage.host/i/HYAgLWG freeimage.host/i/HYAgQsf freeimage.host/i/HYAgPbn Night: freeimage.host/i/HYAiM92 freeimage.host/i/HYAi1a4 freeimage.host/i/HYAiVuS freeimage.host/i/HYAiE8l freeimage.host/i/HYAiWw7 freeimage.host/i/HYAi0Ff All the above are stills from footage shot on my X-T4 and it's even only in 4:2:0 😉
@@abhushan.chitrakar Nope, they're all shot in Eterna. Then converted back to F-Log, with the use of an Eterna to F-Log LUT that's included. After that, the LUT is added that brings back all the colors and contrast, but with ARRI's color science applied and a much organic roll-off 😉 When done so, a CST is added at the end and followed up by Dehancer that converts it to Cineon Film Log, making it possible to add the Kodak 2383 without crushing the image completely in shadows and highlights. On the nighttime shots, a final LUT is added at the end to give it the final teal and orange look. By having it converted back to F-Log from Eterna and further adding the conversion to Cineon Film Log, gives you incredible amounts of room to play and push your grading - almost as if you're working with ARRIRAW files 😄
@@maybejensen If you're shooting F-Log in low light situations, you will get purple blotches in the image - to my notice, mainly in the dark areas of the image 🙂 F-Log is only intended for high contrast situations, like when you're shooting inside with maybe a windows as the backdrop and still wanna retain the details of what's outside. But people use it, like it was RAW - which is something completely different.
The first LUT is the same input and output colour space as the 2nd one but the difference is the 2nd one is their Fuji Eterna profile (low contrast filmic look) whereas the 1st is Eterna with a Bleach Bypass look (that's why it says BB in the name). The 3rd one is just F log to F log but with the colour space transform of F gamut to BT 709, that's why it looks low contrast but is still in an f log gamma curve just with the "correct" saturation, can be useful if you want to get the saturation into the correct space first then use a different LUT or a CST to move the F log into 709 or potentially s log or log c if you're using it with other cameras. We just shot an amazon doco on two Venice 2s and an FX9 shooting s log 3 s gamut 3 cine but we had the XT4 as a D camera so we used this LUT concatenated with a Flog to Slog3 LUT as our input LUT because our output LUT was s log 3 plus colour tweaks (no CST) to a filmic curve s709. The input LUT for the sony cameras were just two sgamut3cine to a custom 709ish gamuts (one venice 2 input lut and one fx9 input lut) that reduces some of the colours the sony favours (more to make the fx9 match the venice 2 and both to make both closer to the base look of an alexa or red that the DP was more familiar with). This was just for Dailies however, they're now doing a custom pipeline for all 5 cameras we ended up using with a more refined show look. We found for generating these dailies however we could match the colour profile of the two sonys and the xt4 using this f log to 709 input LUT much better than building a custom one like we did for the venice and fx9 and brought all 3 sensors and looks (the venices were shooting anamorphic that had a yellow bias) to a shockingly close ballpark even just for dailies that only had basic CDL adjustments colortraced. Potentially a bit overcomplicated just for dailies on a documentary but I found as a dailies colourist this was a really effective (and simple once I had built the powergrades that had all these LUTs built in) way to turn around hours of mixed format footage to a state that the DIT, DP and producers were happy with both for viewing h264 movs and editorial dnxhr MXFs.
I should add, using V gamut instead of the F gamut that isn't in the CST list in davinci is also a valid way to do this since its only colour gamut mapping, its all "correct" if theres no sat clipping or breaking of the image caused but in theory you could concatenate the 3rd LUT I mentioned that maps fgamut to bt709 with the CST you used with no change in gamut and get results closer to the intent of Fuji. Whether that is better is entirely down to taste though since gamut mapping is not the be all and end all of getting your base grade's saturation and hues where you want them. For a grade like this that doesn't have a show look, V gamut to 709 could very well actually work better for you creative intent than using that fuji LUT. It is weird that they don't include. F gamut in Resolve though since theres a lot of comments in here getting gamut and colour space confused as concepts, this would really simplify the workflow of users of Fuji cameras (who tend to not be high end industry professionals with access to post houses like Co3 and X2X for advise on this stuff)
This is amazing!! Would really love to see video on grading Fujifilm's FLOG-2. WIth the latest cameras this could be beneficial to a lot of people. Great work as always.
Agreed - I shoot mostly RED Raptor / Komodo and I didn’t add a Fuji camera to my roster until I saw what’s was coming out of the XH2S with FLOG-2. Picked one up and the XH2S shooting BRAW with it’s 14bit processing has been producing some pretty damn amazing footage for us…
Hey, Fuji doesn’t make this easy to find but on a F-log technical document they say the color space for F-log is rec2020. I’ve been using that for my CSTs for a while, it is the correct color space. Still a great video. Thank you for making a Fuji video.
Thank you so much for doing this, been waiting for xt4 footage color grading video for such a long time and after and after a request you just did it, appreciate it a lot🙏
I did discover that F-Log has the same color space as Rec.2020. I never thought about just trying different color space to see what work. Thank you, I may start doing that with F-Log 2.
Incorrect. If you set camera in "HLG mode", then it will be in REC 2020. IF it is set to NORMAL/F-LOG or F-LOG2, then it will be just simply in REC. 709.
@@donaldmfalls ITU-R BT.2020 is Rec.2020. I took Qazis course and sadly he didn’t have fujifilm content so I had to learn how to color grade fujifilm myself. dl.fujifilm-x.com/support/lut/F-Log_DataSheet_E_Ver.1.0.pdf
Thank you for doing this!!! I would be so curious to see what you think of the fujifilm xh2s with its 14+ stops of actual DR. Seems like resolve LOVESS flog 2 footage and it cleans it up insanely well. Thanks to you I have been building out a basic node tree for all my footage and I’m so so thankful. If you ever need xh2s footage I would be happy to provide it for you.
The tutorial is good, however the clippy feeling up top is probably caused by tone mapping on which usually, clips data for nodes after the CST. Its best to turn off tone mapping.
@@theqazman yes sir I will make sure I do that! I do follow you there as well. I will be turning in body noise reduction off so the footage may look a bit noisy. Davinci cleans up the noise incredibly well even with very minor NR.
I love this. I just switched from FCPX to resolve and I am loving your channel! I have actually used this auditioning method without hearing about it and it just feels right. I have a lot of older Nikon 8 bit camera I use at work and I have found I can get a good result by making a custom flat profile on the Nikon and setting the color to sRGB in camera. Then when I use the color space transform I use DaVinci Wide Range as the color space and sRGB as the input gama and it looks great. The input gama is obviously same as camera but I had to audition looks for the input colorspace like you said. DaVinci Wide Gamut worked for most of my Nikon Cameras and closest to a straight 709 conversion to me without giving a lot of extra character. I tried literally every color space to find this out but once you lock it for a camera the work is done. Thanks!
Honestly, I've been falling in love with those warm looks since we got to recreate American Hustle in the challenges :D Just loooove this look you created.
I think you guys obsess with the different products too much. I look at this game the same way we look at guns in the military.. The best gun is the one you have in your hand.. I think the same can be said for a camera. Too much obsession with being perfect. This guy just won a Blender competition doing many things incorrectly. He even said the others renders were better than his but he won! Why? Because it was a creative idea.. The flashy high studio stuff got beat out by creativity. I say focus on being creative with what you have.
You’re right 1 million % I think these days people focus more in gear than in skills and there’s a big misconception of having the best gear equals my content will be better and it’s far from the truth.
Yes please grade Nikon Z9 NRaw Nlog. Space color of Nlog NRaw is REC 2020 as Fuji FLog. Just a question for those who know, which version of NLog Lut is used by Davinci Resolve to convert NLOG in color managed?
@@theowlfromduolingo7982 theoretically yes. Ive seen many youtube videos where the creator stated that fujifilms statement was rec.2020 so I did a google search, and indeed in both the f-log datasheet and f-log 2 data sheet specify "The gamut of F-log complies with ITU-R BT.2020 and realizes ease of cinema-like exposure and easy grading on the DCI.P3 color space" So its sounds like it was designed to use 2020 but easily be seen, and graded on modern DCI.P3 monitors.
Hi Qazi, can you try grading a Nikon Z9 Footage either shot in N-Log or 8k N-Raw. Really want to master the Nikon Color Science. Thank you for theses helpful tutorial, been learning from you since 2020♥💪
I really like the idea of putting a lot of movie screenshots into Resolve, gonna start doing that, because I learned the basic stuff, but can't create the look yet
I'm probably not the first to ask, but I wonder how much if any improvement was made with the XT5. I own both but havent had the chance to push them like you have.
Hi! Thanks for all the contents you’ve showed us! In my camera (XH2s), I could shoot Prores and H.265 10bit 422, people usually say prores is great, but i just found that the image from H.265 10bit 422 is just better (especially noise level), is it my camera problem or prores problem? I would like to choose a codex for better color grading, how could i test out which codex has more color space? i.e. Is there any way we could ‘push the limits of the footage’ so we can have better comparison? Thanks a lot!
Hey! I noticed on some videos you tend to use CST to convert first to davnci color space then lastly into rec709. If I'm simply grading for the internet and mainly youtube videos, is it fine to simply just use CST straight into rec709 and gamma 2.4. For example with SLOG3?
I love your content and i love trying to recreate what you do but i have one problem i always run into. I am 16 yo and have only a nikon z50 which has no log picture profile. I have done my "own flat picture profile with an program called Picture Control Utility 2. And now i have the Problem that i cant get it transformed to rec709 because i have no official log profile. Is there a way to reverse that settings i have made in Picture Profile Utility 2 to be able to convert my footage into rec 709 with my custom log profile.
I shoot Fuji. The dynamic range is not crazy, the shadow and highlight rollof is bad. You can trick it in a controlled light scene. If you can't control the light, the footage will generally be hit or miss
I don't understand your mindsets for tutorials here.... You. always just criticize the ways people do things and mock the fact that some people are beginning this kind of work. You too were a beginner at some point and nobody was telling you that the way you did your things was complete S#$@, so learn to properly phrase your explanations. Why am I saying this? This tutorial's title in the thumbnail: IS IT WORTH IT? Worth what? You won't take up a client's work because it was shot on other type of LOG? Us normal peeps can't afford loosing clients because it wasn't shot on RED or any other big shot cams. You're doing a great job at helping us improve our skills in Resolve, but lately, I just hate those degrading comparisons you've made, to make beginners feel like worthless contractors who are not worthy of your grandness
Sounds to me like you need to work on your outlook. Why are you the only one feeling this way whereas everyone else is taking tons of value out of my videos? If you don't like what I'm saying then maybe it's worth investigating. Stay positive, homie. Internet is filled with trolls and it was never cute to be one. ✊🏾
Don't bother with X-T4. It's almost the same as X-T3 which I owned. I totally don't understand the hype about it's "color science". There is huge amount of noise reduction going on, giving a watercolor effect in the video, even if you turn it all the way down. Out of camera JPGs look like cell phone photos, especially on dark, cloudy day and if you go with large depth of field. I've sold X-T3 and bought BMPCC4k and it's 2 classes above Fuji. The footage looks much better, the colors, the dynamic range, there is so much more fine-level detail even in 12:1 braw which takes MUCH less disk space than 400Mbp/s 10-bit h264 from Fuji. Also because of braw it's MUCH easier to work with compare to h264 footage that X-T3 produces, it uses fraction of the CPU and GPU - no need to transcode! Also the screen is so much larger compared to tiny X-T3's lcd. The only nice thing about Fuji is nice metal body and autofocus. And that's it.
![Lethal Company Music Video 🎵 "Follow The Orders" [VERSION A]](http://i.ytimg.com/vi/QeooZB4Z7RA/mqdefault.jpg)
Would love to see you revisit Fuji with their F-Log2 coming out of the X-H2S. The dynamic range is just bit extra compared to the original F-Log.
PLEASE! I am wanting to see his approach so bad!
Thank you for listening. It means a lot and feels great to see such productive tutorials based on the feedbacks and comments we put
Of course, bro. Your guys support keeps me going. 💪🏾
The title should be "from Greece to Mexico in one Node".
I might be late here, but I believe Fujifilm as officially released information stating that the f-log and f-log2 color space is in REC 2020. Although the selected v-gamut looks pretty amazing this way!.
Very few people probably know this trick, but you can supercharge the X-T4 among other mirrorless cameras, to deliver ARRI quality colors and roll-off's by using the LUT from Emotivecolor. In the package you even get a LUT that can transform Eterna back to F-Log, which is preferable in non-high contrast situations to avoid all the crappy artifacts F-Log originally introduces if you use it in unfitting scenarios. Couple it with the dehancer plugins for Resolve, run it through Cineon Film Log and slap the Kodak 2383 LUT on at the very end. This gives you so ridiculously much room to play with the grading and makes it possible to archieve a look far beyond what the camera is natively able to deliver.
I've exported a few before/after stills from some footage I shot and the results are absolutely gorgeous every time, when it's being put through this process. I'm not affiliated in any way with the company, but this is the king of ARRI LUT's out there - cause it delivers every time! It's originally intended as a tool for matching cameras, if you had a-roll shot on ARRI and b-roll shot on other brands like Sony, Panasonic, Fuji etc. It takes advantage of computerized color, is all done in C++ and compiled into a LUT that even works flawlessly on Atomos products when you're in the field.
Day:
freeimage.host/i/HYAgsxs
freeimage.host/i/HYAgLWG
freeimage.host/i/HYAgQsf
freeimage.host/i/HYAgPbn
Night:
freeimage.host/i/HYAiM92
freeimage.host/i/HYAi1a4
freeimage.host/i/HYAiVuS
freeimage.host/i/HYAiE8l
freeimage.host/i/HYAiWw7
freeimage.host/i/HYAi0Ff
All the above are stills from footage shot on my X-T4 and it's even only in 4:2:0 😉
are all the before shots flog?
@@abhushan.chitrakar Nope, they're all shot in Eterna. Then converted back to F-Log, with the use of an Eterna to F-Log LUT that's included. After that, the LUT is added that brings back all the colors and contrast, but with ARRI's color science applied and a much organic roll-off 😉
When done so, a CST is added at the end and followed up by Dehancer that converts it to Cineon Film Log, making it possible to add the Kodak 2383 without crushing the image completely in shadows and highlights. On the nighttime shots, a final LUT is added at the end to give it the final teal and orange look.
By having it converted back to F-Log from Eterna and further adding the conversion to Cineon Film Log, gives you incredible amounts of room to play and push your grading - almost as if you're working with ARRIRAW files 😄
What kind of artifacts does f-log introduce?
@@maybejensen If you're shooting F-Log in low light situations, you will get purple blotches in the image - to my notice, mainly in the dark areas of the image 🙂
F-Log is only intended for high contrast situations, like when you're shooting inside with maybe a windows as the backdrop and still wanna retain the details of what's outside. But people use it, like it was RAW - which is something completely different.
@@emilvalentinsrensen1891 thanks for the info. Will check out the luts. God aften
The first LUT is the same input and output colour space as the 2nd one but the difference is the 2nd one is their Fuji Eterna profile (low contrast filmic look) whereas the 1st is Eterna with a Bleach Bypass look (that's why it says BB in the name). The 3rd one is just F log to F log but with the colour space transform of F gamut to BT 709, that's why it looks low contrast but is still in an f log gamma curve just with the "correct" saturation, can be useful if you want to get the saturation into the correct space first then use a different LUT or a CST to move the F log into 709 or potentially s log or log c if you're using it with other cameras. We just shot an amazon doco on two Venice 2s and an FX9 shooting s log 3 s gamut 3 cine but we had the XT4 as a D camera so we used this LUT concatenated with a Flog to Slog3 LUT as our input LUT because our output LUT was s log 3 plus colour tweaks (no CST) to a filmic curve s709. The input LUT for the sony cameras were just two sgamut3cine to a custom 709ish gamuts (one venice 2 input lut and one fx9 input lut) that reduces some of the colours the sony favours (more to make the fx9 match the venice 2 and both to make both closer to the base look of an alexa or red that the DP was more familiar with).
This was just for Dailies however, they're now doing a custom pipeline for all 5 cameras we ended up using with a more refined show look. We found for generating these dailies however we could match the colour profile of the two sonys and the xt4 using this f log to 709 input LUT much better than building a custom one like we did for the venice and fx9 and brought all 3 sensors and looks (the venices were shooting anamorphic that had a yellow bias) to a shockingly close ballpark even just for dailies that only had basic CDL adjustments colortraced. Potentially a bit overcomplicated just for dailies on a documentary but I found as a dailies colourist this was a really effective (and simple once I had built the powergrades that had all these LUTs built in) way to turn around hours of mixed format footage to a state that the DIT, DP and producers were happy with both for viewing h264 movs and editorial dnxhr MXFs.
I should add, using V gamut instead of the F gamut that isn't in the CST list in davinci is also a valid way to do this since its only colour gamut mapping, its all "correct" if theres no sat clipping or breaking of the image caused but in theory you could concatenate the 3rd LUT I mentioned that maps fgamut to bt709 with the CST you used with no change in gamut and get results closer to the intent of Fuji. Whether that is better is entirely down to taste though since gamut mapping is not the be all and end all of getting your base grade's saturation and hues where you want them. For a grade like this that doesn't have a show look, V gamut to 709 could very well actually work better for you creative intent than using that fuji LUT. It is weird that they don't include. F gamut in Resolve though since theres a lot of comments in here getting gamut and colour space confused as concepts, this would really simplify the workflow of users of Fuji cameras (who tend to not be high end industry professionals with access to post houses like Co3 and X2X for advise on this stuff)
Good to know, currently shooting a docuseries here in Brasil and having to mix the Fx9 footage with the F-log of the Fuji XHT2.
The flog documentation says the color space is Rec2020, if looking to match the white paper
This is amazing!! Would really love to see video on grading Fujifilm's FLOG-2. WIth the latest cameras this could be beneficial to a lot of people. Great work as always.
Will do bro.
Agreed - I shoot mostly RED Raptor / Komodo and I didn’t add a Fuji camera to my roster until I saw what’s was coming out of the XH2S with FLOG-2. Picked one up and the XH2S shooting BRAW with it’s 14bit processing has been producing some pretty damn amazing footage for us…
@@theqazman Any update on the F-log2?
Hey, Fuji doesn’t make this easy to find but on a F-log technical document they say the color space for F-log is rec2020. I’ve been using that for my CSTs for a while, it is the correct color space. Still a great video. Thank you for making a Fuji video.
Thank you so much for doing this, been waiting for xt4 footage color grading video for such a long time and after and after a request you just did it, appreciate it a lot🙏
Happy to do it.
Just saw the thumbnail and omg, this looks great !
Got carried away with this one but fun result at the end. 😀
love seeing a video on Fujifilm, this will help out with grading a lot!
Happy to help my dude. 💪🏾
I did discover that F-Log has the same color space as Rec.2020. I never thought about just trying different color space to see what work. Thank you, I may start doing that with F-Log 2.
Incorrect. If you set camera in "HLG mode", then it will be in REC 2020. IF it is set to NORMAL/F-LOG or F-LOG2, then it will be just simply in REC. 709.
@@donaldmfalls I disagree, FLOG is in REC2020, same as HLG.
@@donaldmfalls I actually had to look this up myself to learn how to properly convert f-log in resolve.
@@donaldmfalls ITU-R BT.2020 is Rec.2020. I took Qazis course and sadly he didn’t have fujifilm content so I had to learn how to color grade fujifilm myself.
dl.fujifilm-x.com/support/lut/F-Log_DataSheet_E_Ver.1.0.pdf
@@Dennis94913 send me a short footage in FLOG via wetransfer and I can prove it that it is not in REC2020
Thank you for doing this!!! I would be so curious to see what you think of the fujifilm xh2s with its 14+ stops of actual DR. Seems like resolve LOVESS flog 2 footage and it cleans it up insanely well. Thanks to you I have been building out a basic node tree for all my footage and I’m so so thankful. If you ever need xh2s footage I would be happy to provide it for you.
I’m definitely debating on sending him some footage
The tutorial is good, however the clippy feeling up top is probably caused by tone mapping on which usually, clips data for nodes after the CST. Its best to turn off tone mapping.
Dm the link to the footage on IG
@@theqazman yes sir I will make sure I do that! I do follow you there as well. I will be turning in body noise reduction off so the footage may look a bit noisy. Davinci cleans up the noise incredibly well even with very minor NR.
Want to see xh2s too 👏👏👏
Thank youuu! I have an XT4, and I will definitely try this approach, because I've been doing the IDT and ODT completely different 👀
Happy to help. Enjoy!
Fuji says on their website that they use the REC.2020 GAMUT for F-Log
How about grading footage from the Fujifilm X-h2?
Oh Man! Been waiting for this Xt-4 video! Thank you Waqas 🔥
You're welcome.
I love this. I just switched from FCPX to resolve and I am loving your channel!
I have actually used this auditioning method without hearing about it and it just feels right. I have a lot of older Nikon 8 bit camera I use at work and I have found I can get a good result by making a custom flat profile on the Nikon and setting the color to sRGB in camera. Then when I use the color space transform I use DaVinci Wide Range as the color space and sRGB as the input gama and it looks great.
The input gama is obviously same as camera but I had to audition looks for the input colorspace like you said. DaVinci Wide Gamut worked for most of my Nikon Cameras and closest to a straight 709 conversion to me without giving a lot of extra character. I tried literally every color space to find this out but once you lock it for a camera the work is done. Thanks!
Honestly, I've been falling in love with those warm looks since we got to recreate American Hustle in the challenges :D Just loooove this look you created.
Haha. Thank you so much and couldn't agree more. Warm looks without too much split toning are the new black. ♥️
I think you guys obsess with the different products too much. I look at this game the same way we look at guns in the military.. The best gun is the one you have in your hand.. I think the same can be said for a camera. Too much obsession with being perfect. This guy just won a Blender competition doing many things incorrectly. He even said the others renders were better than his but he won! Why? Because it was a creative idea.. The flashy high studio stuff got beat out by creativity. I say focus on being creative with what you have.
You’re right 1 million % I think these days people focus more in gear than in skills and there’s a big misconception of having the best gear equals my content will be better and it’s far from the truth.
For colour grading the gear does matter. If you shoot on your phone and grade it you wouldn't be able to push it as much as you can with a camera
Please Grade Z9 N-RAW and NLog Footage!
Yes please grade Nikon Z9 NRaw Nlog. Space color of Nlog NRaw is REC 2020 as Fuji FLog. Just a question for those who know, which version of NLog Lut is used by Davinci Resolve to convert NLOG in color managed?
This look is crazy 🔥🔥🔥 it’s always inspiring to see you make great looks 🖤✌🏽
Thank you, brother. I really liked where we ended with the look. 💪🏾
Great! What happened to the black magic pocket test, did this serie not do good? I love it!!
Also, love your videos! You inspire me and a lot of others!! Keep on killing it !!🎉
I'm really curious to see you grading and opnion about Nikon Z9's N-Raw with Ticoraw
I‘ve heard that Fuji‘s Flog is very close to REC2020. Is that correct?
I believe that is Fujifilms official statement.
@@MilesChatterji so theoretically it’s not necessary to download any luts because a cst does work
@@theowlfromduolingo7982 theoretically yes. Ive seen many youtube videos where the creator stated that fujifilms statement was rec.2020 so I did a google search, and indeed in both the f-log datasheet and f-log 2 data sheet specify "The gamut of F-log complies with ITU-R BT.2020 and realizes ease of cinema-like exposure and easy grading on the DCI.P3 color space" So its sounds like it was designed to use 2020 but easily be seen, and graded on modern DCI.P3 monitors.
Hi Qazi, can you try grading a Nikon Z9 Footage either shot in N-Log or 8k N-Raw. Really want to master the Nikon Color Science. Thank you for theses helpful tutorial, been learning from you since 2020♥💪
The xh2s. That's the one with good codecs and dynamic range. Flog2 has the same gamma curve as arri c-log
I really cant wait to get home and upload some footage for a grade! Hopefully you chose it! I love watching your videos, man!
Thank you, bro. I'll be on the look out.
actually i got stuck with fuji xt3 flog file, make me so tired to try color grand but your video help me alot. thanks for everythings.
I really like the idea of putting a lot of movie screenshots into Resolve, gonna start doing that, because I learned the basic stuff, but can't create the look yet
That will skyrocket your look creation journey. 💪🏾
Great look into Fujifilm's log files!
Where can us peasants get access to look libraries like the one you used around 12:25?
Been waiting for this one!! Thanks
You're very welcome.
Thank you Waqas for the x-t4 grading. Glad to see a respected colorist doing this for us.
Of course. It was a fun exercise.
I wanna see a video of you Color Grading “Z-Cam” footage
Need some videos on HDR workflows, Ihave completed your 1hr free training, but still need more and more information on HDR workflow
Please make a Tutorial on flog 2
Great as always!!
Thank you! Cheers!
finally its our turn b!+
Haha. I gotchu.
Would love to see a colorgrade matching the FX show The Bear
thank you for another amazing and inspiring work.
Of course. ♥️
Nice work man !👍🏾
Thank you! Cheers!
Qazi, You are a man of your word! Can't believe it, but its finally here: A fujifilm XT tut by the one and only 😬
I'm probably not the first to ask, but I wonder how much if any improvement was made with the XT5. I own both but havent had the chance to push them like you have.
Everything seems to be good, but why is there no information on Fujifilm xt-4 and what lens was used for it
Awesome work !!! Thank you so much !!!
Of course
Please bro don't be angry i need some tips on how you do manage eye strain from long exposure to illuminations from screen thanks
If i have a Sony A7 III how do i need to set my "Color Space Transform" ? [Log 2 for exemple] ??
@@vorkot1 Thank you soooooooooooooooo much
@@vorkot1 On Sony a7 III i use "Pro Profile" for footage at night" if i use Pro Profile, how i need to set Davinci ?
@@vorkot1 thank u for much for replay 🙌🏼
I have some xh2 footage from a recent beauty shoot if you’d like to play with it.
genuine question. why dont u use the rec709 conversion lut and then use that as the input for davinci wide gamut
this is amazing Helpful video thank you
You're so welcome!
Hi! Thanks for all the contents you’ve showed us!
In my camera (XH2s), I could shoot Prores and H.265 10bit 422, people usually say prores is great, but i just found that the image from H.265 10bit 422 is just better (especially noise level), is it my camera problem or prores problem?
I would like to choose a codex for better color grading, how could i test out which codex has more color space? i.e. Is there any way we could ‘push the limits of the footage’ so we can have better comparison?
Thanks a lot!
Love this so interesting to compare
Thank you, brother.
Qazi!!! What do you think that its better tu get an R5 or fx3??? Thankyou my friend!!!!
Thanks for this video!!!
Of course. You're very welcome.
Hey! I noticed on some videos you tend to use CST to convert first to davnci color space then lastly into rec709. If I'm simply grading for the internet and mainly youtube videos, is it fine to simply just use CST straight into rec709 and gamma 2.4. For example with SLOG3?
I got footage from the big elephant the room a #zcams6 I will love to see this get color graded
Just one question Qazi.
Is this in a ACES timeline ? Or Davinci Wide dynamic and use the aces in&out ??
S5ii next?
Will do.
Pleas qazi... make a video like this about Lumix S5 ii footage thanks brother..... from🇪🇹
I did on Chris Hau's channel. Check it.
Thank you!
You're welcome!
Got a question, so when filming, the video comes out very bright. For us to make the video look smooth, do we have to use a program?
B L O W N A W A Y 🤯
why youtube video is crop? i can't see full view video
Imagine if that was shot during golden hour.
Is there a way to get your reference library ?
bro how do you make your transitions when showing the final result?
How would this work in a color managed timeline?
If I known you were doing fujifilm, I would’ve sent some footage 😅
You still can. It can be part of the regrading your footage series.
@@theqazman I’ll have a clip sent by tomorrow night.
U should of used some flog 2 footage
“Rec709ey” I found that way funnier than I should 😂
😂
I love your content and i love trying to recreate what you do but i have one problem i always run into. I am 16 yo and have only a nikon z50 which has no log picture profile. I have done my "own flat picture profile with an program called Picture Control Utility 2. And now i have the Problem that i cant get it transformed to rec709 because i have no official log profile. Is there a way to reverse that settings i have made in Picture Profile Utility 2 to be able to convert my footage into rec 709 with my custom log profile.
You can't do GOOD color grading when you use canon M50??
Can someone tell me what do you guys use to send and receive large video files?
Dropbox, gdrive, WeTransfer.
fuji is rec 2020.....
X-H2S is WAY MILES BETTER THAN X-T4 in VIDEO QUALITY
Never played with it but interesting.
@@theqazman I’ll send you some footage of F-Log 2
I shoot Fuji. The dynamic range is not crazy, the shadow and highlight rollof is bad. You can trick it in a controlled light scene. If you can't control the light, the footage will generally be hit or miss
I don't understand your mindsets for tutorials here.... You. always just criticize the ways people do things and mock the fact that some people are beginning this kind of work. You too were a beginner at some point and nobody was telling you that the way you did your things was complete S#$@, so learn to properly phrase your explanations.
Why am I saying this? This tutorial's title in the thumbnail: IS IT WORTH IT? Worth what? You won't take up a client's work because it was shot on other type of LOG? Us normal peeps can't afford loosing clients because it wasn't shot on RED or any other big shot cams.
You're doing a great job at helping us improve our skills in Resolve, but lately, I just hate those degrading comparisons you've made, to make beginners feel like worthless contractors who are not worthy of your grandness
Sounds to me like you need to work on your outlook. Why are you the only one feeling this way whereas everyone else is taking tons of value out of my videos? If you don't like what I'm saying then maybe it's worth investigating.
Stay positive, homie. Internet is filled with trolls and it was never cute to be one. ✊🏾
Don't bother with X-T4. It's almost the same as X-T3 which I owned. I totally don't understand the hype about it's "color science". There is huge amount of noise reduction going on, giving a watercolor effect in the video, even if you turn it all the way down. Out of camera JPGs look like cell phone photos, especially on dark, cloudy day and if you go with large depth of field.
I've sold X-T3 and bought BMPCC4k and it's 2 classes above Fuji. The footage looks much better, the colors, the dynamic range, there is so much more fine-level detail even in 12:1 braw which takes MUCH less disk space than 400Mbp/s 10-bit h264 from Fuji. Also because of braw it's MUCH easier to work with compare to h264 footage that X-T3 produces, it uses fraction of the CPU and GPU - no need to transcode! Also the screen is so much larger compared to tiny X-T3's lcd. The only nice thing about Fuji is nice metal body and autofocus. And that's it.
Please do Sony a7iv
Will do.