BrunoCH

I know but I can’t properly shim the lens or I don’t know how I can. I use a cheap Nikon mount adapter to Fuji X. It’s all metal and well build and no play but maybe it isn’t precise enough about focal flange. Me too I impressed by my test and I’m sure I’ll use it on some projects.

I was wrong it is parfocal. I just found the manual in pdf. But honestly when you focus something near you (about 2 m) there is a small focus shift when you zoom. I filmed in F-Log. DeLog with Color space transform node in Resolve without LUT. Correction expo and WB and I added a bit of contrast and saturation. 😊 http://allphotolenses.com/pdf/c_18/p_3.html

When looking for a zoom for my XT3, I discovered the existence of a 25-50mm nikkor AI. Originally, it was a wide zoom for 24x36mm which went from the standard focal to a wide angle. On the XT3’ sensor, it is a zoom very well centered on the standard focal, a bit like an 18-55 but with a narrower range. I found a copy in very good condition on Ebay for 105 $ + 24 $ shipping. I received it yesterday morning and I did a few quick tests in the afternoon. Pros : Optical quality and build contruction Price All manual with 3 rings: aperture, zoom, focus. Cons : Maximum aperture at F4 (too soft, it must be opened at 5.6 at least to have the full quality of this lens) Not Parfocal. The focus moves when you change the focal length. I chose the AI version because focus throw AI version 130° vs 75° AIS version. If you want to view some boring crapy shots. password: nikkor2550 https://vimeo.com/397291419?activityReferer=1

No hope on the side of old lenses all designed for the 24x36mm. Maybe a company like Meike (when I see the quality of their cine lenses) could release a cine zoom 18-55 mm T 2.9 constant parfocal 10 blades iris a focus throw > 200 degrees APS-C (mounts : M4 / 3, FujiX, SonyE) Around 1500 dollars. Or Sirui by an indigogo campaign. Maybe we could suggest them. An email isn’t expensive. A daydream isn’t expensive too.

Thank you for sharing. But this 28-85 is centered on a basic focal at 50mm for 24x36mm (full frame). I don't have a zoom but only fixed focal lengths. On my shorts I think I use 35mm for 5/10 shots (basic focal length in APS-C) 24mm or 20mm for 4/10 shots 50mm for 1/10 shots I could use an 18-55 instead of these three fixed focal lengths. But a 28-85 would be too off range for me.

This two Meike cine lenses are fine. Manual focus is very precise with a 270 ° focus throw and with a very smooth feeling. https://meikeglobal.com/collections/meike-cine-lens/products/presale-meike-t2-2-cine-lens-for-fujifilm-x-mount-mk-35mm-t2-2-with-aps-c https://meikeglobal.com/collections/meike-cine-lens/products/meike-25mm-t2-2-large-aperture-manual-focus-prime-low-distortion-mini-cine-lens-compatible-with-fujifilm-x-mount-cameras-x-h1-x-t3-x-t20-x-t10-x-t2-x-pro2-x-e3-x-t1-x-a2-t100-x-e1-x30-x70-x-m1-x-a1

First shot with my new Meike cine lenses (25 and 35mm). It's just a sequence for an actress demo reel. Really satisfied with these new lenses. Pros : - great color rendition and contrast. - almost no focus breathing. - long focus throw - the aperture ring is not linear (exposure adjustment is much easier and precise) - build all metal - price Cons : - 25mm is the widest focal length for X mount. (12 and 16mm cover only MFT sensor) - 50mm and 65mm will be released later, but doesn’t yet exist in X mount. - very sensitive to side flare. The wide shot with the 25mm Close shots with the 35 mm + black promist 1/4 filter 2000 ISO

@kye Thanks for the comment. It’s a father daughter story. The man is a filmmaker kind of no crew no money, nothing. @heart0less Thanks for the comment. Editing is finish. Color grading will be ok in a week, I think. But I need time for sound and music. I almost understand english but I can’t easily write and speak. It's too long and hard to share what I do.

I am color grading my last short film. What do you think of this pictures ? If you want to try something.you can get a trim copy (a few secondes) of original F-Log with this link : https://we.tl/t-LofgsAXmnn

I hope these new 6k will be in H265 10bits All-I around 500 Mbps.

XT3's sensor is 6240x4160 pixels. Does that mean 6240x2600 h265 10bit ? (sorry for posting twice)

Really or extend ? What does that mean for F log ? F-log at ISO 400 ?

The OPF sensor with real ISO adjustment (not amplifier gain) ? We can dream but I think it’s not now.

I use USB-C powering with an Anker PowerCore Speed 20000 USB-C. I add a SMALLRIG Mini Cheese Plate 1598 to the Anker with gaffer. And I attach this on the Mixpre 3 with the 3/4 screw integrated. For me everything works fine.

There is no a specific F-log gamut in Resolve because FUJI choose to use the REC2020 for the gamut of F-Log. In Resolve 16.1 you can find a specific F-log gamma and with the REC2020 gamut, you get all you need, for use F-log in RCM.

There is no good answer. For my part I love F-log and I only use it. On set I have a swit monitor to correctly expose the log with waveform and to correctly view my picture with LUTs. Colorgrading is so simple with Resolve 16.1. You just need to say to resolve that it’s F-log (with rcm or with a color space transform node). And it's done, you get a beautiful picture. Just need some adjustments ( WB contrast expo).

You’re absolutely right. Too pinkish and greenish. I worked too fast. I just wanted a quick test with 16.1 final release. Now I’m editing this short. In a few weeks, I’ll work seriously on color grading.

Quick test with Resolve final version 16.1. Flog, H265, 400mbps, delog with a node colorspace transform and some adjustments.

Good news if you haven't had a problem with this technique. Now I have the rec triger fuji cable and I can't anyway power my XT3 with my Ronin. But I use a long 2m USB-C cable and I gaff a loop about 40-50cm on the SC's handle and I wear my anker in my pocket or in a small shoulder bag. Works fine and lightweight!

Be careful and do tests. I had a problem using the DJI power supply via USB. All my data on the two cards are erased by switching off/on the DJI to power the XT3 (like explain to 10mm15s in this video). Not all time but twice during my tests. I will never use this technique. And anyway now I have the cable fuji ronin sc to trigger rec on off.

In the XT3 menu, DCI is about 4K DCI which is the 4K cinema standard. 4k is about 4k UHD which is the TV standard. It's just a small difference of a few pixels vertical lines; nothing else.

The best shoots I got with my XT3 are with the 4K DCI 400mbps, H265, F-log, color graded in Resolve beta 16.1, de-log with a color space transform node.

Interesting things after 2mn03s. https://youtu.be/FyqN6_PoVoI

The fuji LUTs are technical LUTs for delog (apart from the eterna LUT that is hybrid (delog + look eterna)). If you use the RCM to treat the F-log, you don’t need these technical LUTs anymore. The job is already done. On the other hand, you can always use creative LUTs to give a mood.

It’s the future of the Cmos sensor but it seems that it takes a long time to set up. Beauviala (Aaton camera creator) had written an interesting text three years ago already. https://www.afcinema.com/The-end-of-the-Neutral-Density-Filter.html