Attila Bakos

The magenta banding was horrible on the X-T2, but I didn't see it yet on the X-T3. I remember your post so I know that it's still there, but it might be manageable. Do you have a downloadable MOV with the issue?

Yes, but I don't miss 4:2:2 at all with this camera, so I'm not facing issues like this guy does. Just checked the liftgammagain forum and apparently my conclusion was that the latest Resolve & Premiere are fine, there was no difference between in camera and external recordings. But seeing this video this is not true anymore, at least not for the X-T3 & the Ninja V.

A simple one, I sold my X-T2 and the Video Assist 4K ? Not for this reason though. Unfortunately I can't remember if I applied a conversion or just ignored the issue.

Ah, so this is still an issue. The guy's conlusion that the shift is caused by less color information in the H265 is off, but I see you already addressed it in the comments.

I thought the same so I played with the shutter speed, didn't make a difference, and when I first saw it it was with natural light.

I didn't pay too much attention to this video, until I noticed the same: It doesn't really bother me as it took months to shoot a scene where I actually noticed it, but I wonder what's the explanation for this issue.

But in LUTCalc you can choose between NHK / BBC reference white scaling, and the BBC one gives you 38% IRE for 18% grey, which I believe is closer to what's happening in the X-T3 when you let the camera figure out middle grey. I filmed a lastolite middle grey background filling the entire frame and I could only see about 10% IRE difference between F-Log and HLG.

Where do you get the 22% from? I couldn't find it in the specs. I also did my tests with the X-T3 when the update arrived. I used ETTR and placed highlights at the exact same level near clipping, then pushed shadows to the same level in post. Overall noise level was identical, and to my surprise I could get a little more detail out from the shadows of HLG even though they appeared more crushed. The difference is very little though, I wouldn't base my choice on it. I've chosen to stay with F-Log, because I learned to work with it in the past and I find it easier now.

Not sure if it matters to you, but the body corrects for CA, vignetting, and distortion when you use the Fuji lens. You won't have that with the 17-50.

Lens doesn't matter, and use native ISO for N-log, whatever that is. Oh and could you make a second one with lots of clipped highlights? Thanks!

I ask again, maybe with more success this time, can anyone with a Z6/Z7 and an external recorder shoot a short clip (few seconds) with the lens cap on and upload it somewhere? I'd appreciate it.

Good news for Windows users: https://theblog.adobe.com/adobe-pro-video-apps-now-support-prores-export-on-windows/

I don't have my X-T3 with me to confirm it, but check page 212 here: http://fujifilm-dsc.com/en/manual/x-t3/x-t3_omw_en_s_f.pdf

Interesting results from Slashcam: https://www.slashcam.de/artikel/Test/Der-4K-Vollformat-Herausforderer-Nikon-Z6---Bildqualitaet-im-Videomodus.html Among other things, they doubt that it's a full sensor readout in 4K, and also there is a slight crop when using N-Log.

I'm developing something for N-Log and I'd like to see where blacks are mapped.

Thanks, I already have that one That seems to be the only one available on the net. Something else would be great then @DBounce On a second thought, I would be happy if you could share a short footage shot with the lens cap on.

Can you please upload some untouched N-Log footage? Straight out of the Ninja. Anything works.

Well, the 4K version doesn't have that. And I graded X-T2 F-Log files coming from the BM Video Assist 4K, one of the Atomos recorders, and the Convergent Design Odyssey 7Q+, they were all video range. It's really not a problem of Atomos, altough I imagine it would be fairly easy to implement what BM did on the smaller Video Assist. I'm not sure if Prores has flags for full or video levels. I've never seen a full range Prores 422 for example. I'm on Windows so I could only try ffmpeg, but the Prores implementation ignored my level scaling parameters.

Are you really sure that it's an issue with Atomos? My X-T2 recorded in-camera F-Log as data range, but when I used it with the Blackmagic Video Assist 4K, it recorded in video range, levels went up to 109% IRE. It's also worth noting that Prores is assumed to be video levels, except for Prores4444 RGB. As long as the data is there just mapped differently, I wouldn't worry. In Resolve it's just a few clicks to map it back to data levels, in other NLE's or on the recorder itself you can use a LUT for that. I can create such a LUT if anyone's interested.

Did anyone find downloadable N-Log material yet? I'd like to have a look at untouched, unprocessed clips.

I tried the article links from different computers/IPs, even from different countries, all goes to 404. Something is wrong with his site atm.

Someone who goes by the name Lucas Mason on LiftGammaGain forums and is using the exact same profile picture He used the name Luke Mason here and has the same style as yours Busted?

I know, that's why I'm creating new ones. BTW you're Luke Mason right? Why did you create a new account?

I will have Check the ones available for the X-T2 at http://colorizer.net. You can also try them for the X-T3's F-Log. Just make sure to switch footage to use video levels.

Details of the next update coming in December: https://www.fujirumors.com/fujifilm-announces-firmware-updates-for-fujifilm-gfx-50s-fujifilm-x-t3-and-fujifilm-x-h1/