BrunoCH

Here's my proposal for matching the two cameras. And a grade test. No LUT was used.

I really like the first one. Here are two other proposals.

Very close. What jumps out at me is a difference in the blue of the sofa cushions in both and a difference in the saturation of the reds in the second still.

Here's a Flog shot with an XT4 (trimmed copy of the original file). https://drive.google.com/file/d/1atTlmtWQYmRevkfXwsM4ihnyR7ARMLvf/view?usp=share_link And my grading suggestion.

A no budget short film, thriller genre. Shooting XH2S Editing FCPX Color grading DR https://vimeo.com/manage/videos/870139890

https://www.mir.com.my/rb/photography/companies/nikon/nikkoresources/zoomsMF/2550mm.htm There's the Nikkor 25 50. I bought one, on eBay, 2 years ago, for $100. It only opens to F4 and is really good from F5.6. It is parofocal with three rings; aperture/focal/focus. I've already posted a short video test on XT4 (apsC) on this forum. https://vimeo.com/manage/videos/397291419 Password : nikkor2550

Yes I mean the Film look LUT from Resolve (stock emulation). I don't use the FUJI LUTs to delog the Flog, I prefer color management.

If you like this kind of grading, the Resolve FUJI LUT could be a good start.

About the chroma smoothing issue, my only problem with the XT4, was that at a certain distance, on a face, the teeth and the white of the eyes tend to take the color of the skin, as Attila Bakos showed on his example with the red bricks joint. With the XH2S in ProRes HQ, it looks much better. And the Flog2 is absolutely amazing. Currently Flog2 isn't in Resolve so I'm using a CST with Gamut : REC 2020 and Gamma : ArriLogC (because the gamma curve of ArriLog C and Flog2 is almost identical, but not the color space) I had tried to tinker with a node in Resolve that acts only on the red channel to fix the chroma smoothing issue but no really interesting result.

It's possible that the noise is like dithering. https://en.wikipedia.org/wiki/Dither

Yes for 4K the bitrate are very similar (I am around 780Mbps for ProRes HQ in 4KDCI) But for 6,2K I have a bitrate of around 2300 Mbps with ProRes HQ. This is really different from the 720 Mbps of H265 (Angelbirds SE 512GB cards are very good at a reasonable price, I got some around 180 euros) https://www.angelbird.com/prod/av-pro-cfexpress-se-type-b-2919/?category=238

Thank you for this test. I would have preferred to see ProRes HQ instead of H265. Did you delog the Flog2 with Fuji LUTs ?

Some test rushes. 3s trim copy of original media. ProRes HQ; Flog2 https://drive.google.com/drive/folders/1boq6yfg8TDli4c84tcyyfgUlny40fiEL?usp=share_link

The full specifications are published https://www.tascam.eu/fr/ca-xlr2d

I don't know. For my short fiction work, now I don't think I'll ever go over the threshold of overheating. I'm very happy with this update.

Do you know on the XT4 with the latest firmware update, you can choose the threshold of the overheating auto-off protection? It is now possible to record at least 40 minutes ; 4K 60p H265 10bit. Watch this video at 2'50 and 4'01mn

One last thing for the XT4. With the latest firmware update, it is possible to choose a high threshold for AUTO POWER OFF TEMP. This seems to allow long recording time.

Exposure compensation is set to 0?

DR400 limits ISO to 640 too.

You can read this, on this page https://www.doc-diy.net/photo/remote_pinout/ Fuji (Fujifilm) Fuji has currently three types of wired shutter release connectors. 2.5mm Jack Plug Some of the Fujis have the standard 2.5mm jack socket to connect the microphone. This socket also serves as a shutter release socket. The wiring is compatible with Canon and Pentax (see above) and cheap remotes designed for these brands can be used. So the fuji remote control works like the RS60-E3 cannon remote control. And you can read this on this page http://www.camerahacker.com/RS60-E3_pin-out/pin-out.php When the button on the remote control is pushed half way, contact section 1 and 2 are shorted together, causing the camera to focus. When the button on the remote control is pushed all the way, all three contact sections are shorted together, causing the camera shutter to be released. Pin 1 is actually the ground connector. Therefore, it's pin 1 and pin 3 that causes the camera to trigger. 1 - ground 2 - focus 3 - shutter When you build your own camera interface, you can split the auto-focus and shutter release function by using two switches or use two independent circuits. Now I think I have everything I need. I will try to build my trigger button this weekend. I will use wire 1 and 3 on the momentary button and hide and protect wire 2.

Thanks Jay60p for the answer, but I think the diagram is more like the one I corrected. Just thinking about how the stereo audio is connected. I think I'll try to connect only 1 and 3 on the momentary button and I won't use 2. Just to trigger the rec. but I'll continue to do some internet research first.

Thank you Jay60p for your contributions. I would also like to try to tinker a shutter release for my XT4 but I would just like to use the Vello remote cable and a momentary button like in the following video at 11mm50. But I have three cables on a side and two slots on the button on the other. And I don't know how to do ?

About flare. I find that they resist very well for the lights in front of lens, which are in the frame. For the side lights, just at the edge of the frame, but out of the frame, it's no less good. You can lose contrast very quickly. I have the tilta mattebox on the lens, outside.

I have the 25, 35 and 50mm of this Meike cine lenses. The only downside is the lack of focal length wider than 25mm for X-mount. An optic around 18mm would be really the best. Otherwise, it's good and really good : Long focus throw / Focus ring is very smooth / No focus breathing/ 10 pieces blade /Incredible optical quality / An incredible manufacturing quality (I haven't seen a single dust inside my 3 optics) / All is metal. The 35mm is the focal length I use the most because it's the basic focal length on an APSC sensor.