I have the X-H2S and the in-camera zebras only go down to 50, so I'd imagine it's the same on X-T3. In that case, you'll have to use an external monitor that has zebras that can be set to 46. Then hold an 18% grey card near where your primary subject is/will be and adjust the camera's exposure until zebras show on the 18% grey card. You can also use a waveform (which, of course, the Fuji cameras don't have so external monitor again). Place the grey card in your scene and adjust the exposure in camera until the grey card is sitting at 46IRE on the wave form
How to do proper colour space transform for f log 2 can't find it anywhere hope you can help. Can't find flog in input color space , most people say to use rec 2020 . Can't find the best way any suggestions
Hi, at this point Resolve hasn't added F-Log2 to their colorspace transform tool. You can use F-Log with similar results, you'll just have to adjust the exposure using the offset. Or you can download Fuji's conversion LUTs, or I've linked my own F-Log2 LUTs in the description. The gamut of F-Log, called F-Gamut by Fuji complies with Rec.2020 so that's what you would choose for input colorspace.
@@capturedtime4145 BRO! I so needed this answered as well. I was also using gamut 2.4, and once I switched it over to F-Gamut I can finally get the look I was looking for. Thanks for asking, and thank you @Evan Schneider for answering!
Thank you so much for the great video. I've been shooting X-H2S F-log lately and your videos have helped me a lot, but I was wondering how you match the colors from the drone shots. Please answer a few questions: 1. what type of drone you used in the video 2. if you used D-log from dji, how do you match the colors 3. do you have to keep 24p 50s when shooting drones for cine footage (whether you use a drone with a variable iris or not) 4. sorry for the many questions, but does the same method apply to other cameras like BMPCC, not X-H2S?
Thanks for providing this much depth into your video breakdown! This breakdown is what I’ve been looking for for awhile now. Especially, since Davinci Resolve does not support F-Log 2. Definitely will start using elements of your colour grade workflow 😊
Thanks! I wouldn't group the clips for this one, but when I do group clips, I only group them if they're using the exact same grade, for instance an interview shot intercut through an entire project. In this sequence, if I grouped them, it would save me time at the beginning but it would add extra steps down the process when I want to balance each shot individually and have to start switching between pre-group, post-group and clip. Best to keep it simple, plus I didn't want to overcomplicate the tutorial too much. Thanks for the question.
@@EvanSchneider thanks for the explanation. I wish I didn’t buy the conversion I saw yesterday because yours gives a TON of more options and flexibility. It’s definitely something on my list to get though. Just picked up a xh2s last week and im loving it so far. It’s a few firmware upgrades from being the one and some camera.
@@EvanSchneider there’s actually a benefit to having your CSTs and global look in groups! It’s a lot easier if you want to change your output transform or modify something in your look rather than going through all of clips again
Great stuff as always! I’m new to f-log. What are your transform settings? I can’t seem to find Fuji in “input color space” menu, does that mean it’ll stay as “use timeline”? When using ACES lite workflow I do have F-log setting ‘in input color space’ dropdown menu. I’m on DaVinci 19. Thanks
Not necessarily. Basic adjustments like exposure, white balance, contrast, saturation, etc. are best before but I prefer to make creative adjustments like tone curves and looks after the transform because it’s easier to control.
Nice video! I was wondering why do you bring up the shadows after applying the LUT? Shouldn't you do it before the conversion to Rec709 for better range? Thank you!
Hi Evan, I rewatched this video now four times, with DR open on my second screen. Your node tree is super helpful and my color grades are getting better. I am still struggling a lot with all the initial settings in DR that are color related. You would not have an overview somewhere? If I open my 'project settings / color management tab' I wonder what are the right settings (using an XH2S) for color science, 'time line & output color space' (I have that set to REC 709 scene right now) ?? I feel I need to get a deeper understanding here, before, I can really 'play the piano of colors' ....
If i may ask 2 questions... Q1- In regards to your Flog2-to-Rec709 LUT, do you load this in your external monitor on set to preview what you'll be seeing for when you bring it back to resolve as your starting point? Q2- when you graded the drone footage, i was suprised not to see you having to match the color space to the fuji Log. You used the Dji. Wouldn't that have gave a different look cuz of the color science between the 2 cameras?
Hi, yes definitely. I have the base conversion LUT loaded onto my SmallHD for monitoring. If I'm using the built-in screen on the X-H2s, I use the gamma display assist, which will correspond correctly with my conversion LUT when I apply it in post. Instead of converting the drone footage to F-Log2, I converted it to the "common denominator", if you will, or the timeline color space of Rec.709. It is true the two cameras will capture slightly different colors, but I would be overcomplicating the workflow and the colors wouldn't necessarily match if I converted the drone footage to F-Log2 first. It will be much easier to perceptually match the two cameras in my timeline color space.
Hi Evan, thanks for all the great fuji content. I have an xh2s and am trying to get better flog2 results in fcpx. I'm looking for a clean commercial look, ideally something like Astia, which I love. I'm not a huge fan of Eterna for commercial work. I'm happy to buy your lut pack if you think it'll get me closer to an astia type look. What do you think? Thanks again!
Hey, thanks! Most of my Fuji LUTs act more as a starting point than a final grade. There are some creative looks that might get you close to Astia, but if you're looking for that specific look it might be best to grade it manually. I will say that my Fuji LUTs will give you a better starting point with F-Log2 than the Fuji free ones.
Thanks Evan! One last question - what white balance do you set your xh2s at when shooting, to get the best results from your LUT? I know it depends on the environment but any advice generally speaking?
Hi Evan, good to see this video. Nicely done stuff. So when you did this node tree, what was your color management in your project settings page? Did you set the color science on DaVinci YRGB and Timeline color space to Rec 709 (Scene)? This is a confusion I still have.
Hi, thanks for watching. For this node tree, my color management was set to DaVinci YRGB, timeline color space was set to Rec.709 Gamma 2.4, and my output was set to Same as Timeline. This allows me to have manual control of the color management via the node tree. If you're setting up a similar node tree/workflow, I would recommend setting your timeline colorspace to Rec.709 2.4 and output the same as your timeline. If you're working on a Mac and you want your export to match what you see in the Resolve viewer, you could set your output colorspace to Rec.709-A and then in Preferences > General, make sure to check the boxes on for "Use Mac display color profiles for viewers" and "Use 10-bit precision in viewers if available".
Thanks Evan, I would love to know the details of how you setup Colour Space Transform with F-Log files from the GFX 100s. No matter what I try the look washed out and the same with using gate LUTs from Fuji. I even converted ProRes RAW files from the Atomos using the Raw Convertor to Cinema DNG and even that was terrible. Hope you can help. TIA
You could, but I don't. I've gotten used to just doing it by eye and saving the highlights using the F-Log view assist in camera. From there I have enough flexibility to dial it in when I grade.
Hey Evan. Thanks for the tips. I shoot F-Log as well but whenever I select my input color space: REC2020, and Input Gamma: Fujifilm F-log, as color management node in Davinci, my footage always gets really, really dark. Do you know why?
Do you use zebras for exposure? A lot of people said 70% for f-log is good for skin tone. It is right? (I’m user of x-t4) And what is a zebra level for f-log2 (answer for my future)
I don't use zebras. I expose to how it looks on the screen, keeping it around 0 on the meter and avoiding blown out highlights. But 70% seems high for skin tones. Middle grey on F-Log2 is at 39%, so I would keep skin tones around there (plus or minus 5-10%)
As always, THE video we all wanted 😮 keep ‘em coming!!
Thanks bro!!
Have both LUT pack's and am a big fan of yours now brother! Keep up the great advice because you're a phenomenal teacher!
Thanks so much!
Hi, thanks for the video.
How do you set 18% gray to 46 on FLOG. I'm using Fujifilm X-T3.
Thank you
I have the X-H2S and the in-camera zebras only go down to 50, so I'd imagine it's the same on X-T3. In that case, you'll have to use an external monitor that has zebras that can be set to 46. Then hold an 18% grey card near where your primary subject is/will be and adjust the camera's exposure until zebras show on the 18% grey card.
You can also use a waveform (which, of course, the Fuji cameras don't have so external monitor again). Place the grey card in your scene and adjust the exposure in camera until the grey card is sitting at 46IRE on the wave form
You provide a great insight and overview to this structured approach. Thanks.
Absolutely
How to do proper colour space transform for f log 2 can't find it anywhere hope you can help. Can't find flog in input color space , most people say to use rec 2020 . Can't find the best way any suggestions
Hi, at this point Resolve hasn't added F-Log2 to their colorspace transform tool. You can use F-Log with similar results, you'll just have to adjust the exposure using the offset. Or you can download Fuji's conversion LUTs, or I've linked my own F-Log2 LUTs in the description.
The gamut of F-Log, called F-Gamut by Fuji complies with Rec.2020 so that's what you would choose for input colorspace.
@@EvanSchneider thank you this is really helpful
@@capturedtime4145 BRO! I so needed this answered as well. I was also using gamut 2.4, and once I switched it over to F-Gamut I can finally get the look I was looking for. Thanks for asking, and thank you @Evan Schneider for answering!
Thank you so much for the great video. I've been shooting X-H2S F-log lately and your videos have helped me a lot, but I was wondering how you match the colors from the drone shots. Please answer a few questions: 1. what type of drone you used in the video 2. if you used D-log from dji, how do you match the colors 3. do you have to keep 24p 50s when shooting drones for cine footage (whether you use a drone with a variable iris or not) 4. sorry for the many questions, but does the same method apply to other cameras like BMPCC, not X-H2S?
Thanks for providing this much depth into your video breakdown! This breakdown is what I’ve been looking for for awhile now. Especially, since Davinci Resolve does not support F-Log 2. Definitely will start using elements of your colour grade workflow 😊
Glad it was helpful! And I'm still trying to get the folks at Blackmagic to add support for F-Log2.
Great grade. What about putting all clips in a group and applying the node tree on that?
Thanks! I wouldn't group the clips for this one, but when I do group clips, I only group them if they're using the exact same grade, for instance an interview shot intercut through an entire project. In this sequence, if I grouped them, it would save me time at the beginning but it would add extra steps down the process when I want to balance each shot individually and have to start switching between pre-group, post-group and clip. Best to keep it simple, plus I didn't want to overcomplicate the tutorial too much. Thanks for the question.
@@EvanSchneider thanks for the explanation. I wish I didn’t buy the conversion I saw yesterday because yours gives a TON of more options and flexibility. It’s definitely something on my list to get though. Just picked up a xh2s last week and im loving it so far. It’s a few firmware upgrades from being the one and some camera.
@@EvanSchneider there’s actually a benefit to having your CSTs and global look in groups! It’s a lot easier if you want to change your output transform or modify something in your look rather than going through all of clips again
Endangered species: RUclipsrs not selling LUTs. 🤑🤑🤑
I'm actually one of the most qualified RUclipsr to be selling LUTs, as I am a professional colorist 😉
This is great. Thanks for sharing Evan!
Thanks man!
Great stuff as always! I’m new to f-log. What are your transform settings? I can’t seem to find Fuji in “input color space” menu, does that mean it’ll stay as “use timeline”? When using ACES lite workflow I do have F-log setting ‘in input color space’ dropdown menu. I’m on DaVinci 19. Thanks
F-Log and F-Log2 input color space is Rec.2020
Hello Evan, nicely graded! But isn’t it more effective to keep all the grades before the LUT/CST to 709 node?
Not necessarily. Basic adjustments like exposure, white balance, contrast, saturation, etc. are best before but I prefer to make creative adjustments like tone curves and looks after the transform because it’s easier to control.
Great piece Evan! What is the name of the intro song? I know you are using Artlist, but what's the name of that particular tune? Thank you!
Nice video! I was wondering why do you bring up the shadows after applying the LUT? Shouldn't you do it before the conversion to Rec709 for better range? Thank you!
Hi Evan, I rewatched this video now four times, with DR open on my second screen. Your node tree is super helpful and my color grades are getting better. I am still struggling a lot with all the initial settings in DR that are color related. You would not have an overview somewhere? If I open my 'project settings / color management tab' I wonder what are the right settings (using an XH2S) for color science, 'time line & output color space' (I have that set to REC 709 scene right now) ?? I feel I need to get a deeper understanding here, before, I can really 'play the piano of colors' ....
I hope he answers, dude is swamped lol I tried email and everything about color pipeline of xh2s and this would be helpful.
@@Thaddeuspryor I am doing my research .... and will share all knowledge I gather ... :D
What's in the transform node?
You're a magician! This is awesome to see, thanks a lot for sharing your process
Absolutely! Glad it was helpful.
Would the same philosophy apply to color grading F-Log in FCP? Adjusting the broad strokes first, then apply conversion LUT, etc.?
If i may ask 2 questions...
Q1- In regards to your Flog2-to-Rec709 LUT, do you load this in your external monitor on set to preview what you'll be seeing for when you bring it back to resolve as your starting point?
Q2- when you graded the drone footage, i was suprised not to see you having to match the color space to the fuji Log. You used the Dji. Wouldn't that have gave a different look cuz of the color science between the 2 cameras?
Hi, yes definitely.
I have the base conversion LUT loaded onto my SmallHD for monitoring. If I'm using the built-in screen on the X-H2s, I use the gamma display assist, which will correspond correctly with my conversion LUT when I apply it in post.
Instead of converting the drone footage to F-Log2, I converted it to the "common denominator", if you will, or the timeline color space of Rec.709. It is true the two cameras will capture slightly different colors, but I would be overcomplicating the workflow and the colors wouldn't necessarily match if I converted the drone footage to F-Log2 first. It will be much easier to perceptually match the two cameras in my timeline color space.
Hey man are you have a black friday sale? 😬
Hey yes it will start soon!
Hey Evan. Love the videos. I can’t see this anywhere in the menu or in the manual but is possible to feed flog assist to HDMI?
Unfortunately not, it’s only for the built in screen. I have my conversion LUTs loaded in to my SmallHD for external monitoring.
Thanks for this Evan!! Brilliant as always 🎉
Absolutely! Thanks for watching
Thank you for sharing. The work looks amazing
Thanks for watching
Hi Evan, thanks for all the great fuji content. I have an xh2s and am trying to get better flog2 results in fcpx. I'm looking for a clean commercial look, ideally something like Astia, which I love. I'm not a huge fan of Eterna for commercial work. I'm happy to buy your lut pack if you think it'll get me closer to an astia type look. What do you think? Thanks again!
Hey, thanks! Most of my Fuji LUTs act more as a starting point than a final grade. There are some creative looks that might get you close to Astia, but if you're looking for that specific look it might be best to grade it manually. I will say that my Fuji LUTs will give you a better starting point with F-Log2 than the Fuji free ones.
Bought your LUTs! Do I need to do a CST node before applying the FLog to Rec LUT?
Thanks!! No, if the footage is F-Log or F-Log2, the LUT serves the same purpose as a CST.
Thanks Evan! One last question - what white balance do you set your xh2s at when shooting, to get the best results from your LUT? I know it depends on the environment but any advice generally speaking?
Hi Evan, good to see this video. Nicely done stuff. So when you did this node tree, what was your color management in your project settings page? Did you set the color science on DaVinci YRGB and Timeline color space to Rec 709 (Scene)? This is a confusion I still have.
Hi, thanks for watching. For this node tree, my color management was set to DaVinci YRGB, timeline color space was set to Rec.709 Gamma 2.4, and my output was set to Same as Timeline. This allows me to have manual control of the color management via the node tree. If you're setting up a similar node tree/workflow, I would recommend setting your timeline colorspace to Rec.709 2.4 and output the same as your timeline.
If you're working on a Mac and you want your export to match what you see in the Resolve viewer, you could set your output colorspace to Rec.709-A and then in Preferences > General, make sure to check the boxes on for "Use Mac display color profiles for viewers" and "Use 10-bit precision in viewers if available".
@@EvanSchneider Thanks a lot for throwing some light on this Evan. You made it all clear and crisp.
Please someone get back to me on this.. do you always put your ISO at 1250 when shooting FLOG2?
That’s the minimum iso when filming in F-Log2, so that’s why you see most people shooting like that
@@EvanSchneider Do you need to use an ND filter at all to be able to bring the ISO down?
Thanks Evan, I would love to know the details of how you setup Colour Space Transform with F-Log files from the GFX 100s. No matter what I try the look washed out and the same with using gate LUTs from Fuji. I even converted ProRes RAW files from the Atomos using the Raw Convertor to Cinema DNG and even that was terrible. Hope you can help. TIA
Nice tutorial. In flog 2 when shooting people do you set your zebras to 38?
You could, but I don't. I've gotten used to just doing it by eye and saving the highlights using the F-Log view assist in camera. From there I have enough flexibility to dial it in when I grade.
Great video!
Thank you!
do xt4 support f-log 2?
I believe the X-T4 supports F-Log only, not F-Log2.
Hey Evan. Thanks for the tips. I shoot F-Log as well but whenever I select my input color space: REC2020, and Input Gamma: Fujifilm F-log, as color management node in Davinci, my footage always gets really, really dark. Do you know why?
What colorspace are you working in and outputting to in your color management?
Hi Evan! Did you shoot it in F-log2 H265 or ProRes? I love the LUTs by the way... Thanks!
Hey, thanks! Glad you like them. This was all shot in ProResHQ if I remember correctly.
Do you use zebras for exposure? A lot of people said 70% for f-log is good for skin tone. It is right? (I’m user of x-t4)
And what is a zebra level for f-log2 (answer for my future)
I don't use zebras. I expose to how it looks on the screen, keeping it around 0 on the meter and avoiding blown out highlights. But 70% seems high for skin tones. Middle grey on F-Log2 is at 39%, so I would keep skin tones around there (plus or minus 5-10%)
Cool!✌️
What were you doing in Oregon? I’m heading there tomorrow for the next six weeks.
Nice, was up there for thanksgiving to see extended family
Love the vid, I haven’t tried to use HSV yet but I’ve seen really good results from it.
Thanks, yeah it's a nice little trick to keep in the back pocket!