Attila Bakos

I don't have a HDR display, but you're right, some of the shots are waaay oversaturated even on SDR. People still like it nevertheless.

I would use masks/keys and Resolve's deband filter for this kind of stuff. Just one frame: before | after I did not finetune the key so there is some detail loss here and there, I also modified the sky's color a bit. This is way faster than grain + denoiser.

Yeah many people do it like this, as having a bit of noise reduction in the first node can also lead to cleaner keys.

I'm sorry if this was already posted, but you can clearly see the problems with the new 100/120 fps mode: If you don't have straight lines and you're shooting with narrow DOF, then it can be fine, but other than that...

Yes, the frames are directly exported from Resolve. I believe banding would be much less visible in 10bit. The pink patch might not be related to 8bit though, but to some problem with the F-Log implementation in the X-T2. The red channel is very noisy and from the footage I've seen so far they fixed this problem with the upcoming X-H1.

My samples are from ProRes 422. 492Mb/s at 2160p25.

Yeah, and btw it can be used in more difficult situations as well. Again, F-Log, very strong grade, banding and nasty pink patch: : Now there are the rooftop edges, branches, whatnot, and you don't want them to be affected. In Resolve I was able to do a very precise selection with the HSL selection tool. Just make sure you use zero or very minimal softening. Then I applied grain and then noise reduction. You have to play with the grain and noise reduction amount until it looks the best. At this step the pink patch was already better, but I changed it's hue to match the rest of the sky, then applied some midtone detail in the same mask, and arrived at this: Like it was shot in 10 bit

For the banding removal mentioned earlier, when you have massive banding, it can be useful to add grain and then apply temporal noise reduction. I applied a very strong grade to one of my X-T2 F-Log clips here, to show some nasty banding (view in full size): Then I created a mask for the sky in Resolve, applied some heavy grain and then some heavy temporal noise reduction in Resolve's denoiser, and voilá. Obviously this will only work if you can mask out the problematic area and if there's no real detail there.

F-Log out of the box is not that pleasing (not to everyone at least), it has a green tint when compared to the in-camera profiles. I used the X-T2 + BM Video Assist 4K to create LUTs for F-Log that emulate the film simulations of the camera (at -2 shadows, -2 highlights, -4 color). I don't know how my LUTs will work with the X-H1, but I've found one of the sources that was used in the Slashcam test, and applied my LUTs to it. Although I can't tell you how accurate they are, I can see that we'll have some room to grade before the footage breaks. Original F-Log frame F-Log + Provia LUT F-Log + Velvia LUT F-Log + Astia LUT F-Log + Classic Chrome LUT F-Log + Pro Neg Hi LUT F-Log + Pro Neg Std LUT Since I emulate the flattest in-camera settings, you need to apply some contrast and maybe saturation.

X-H1 F-Log test:

Don't want to hijack this thread, but holy shit, 120 in UHD HEVC, is this for real? The S8 maxes out at 30.

I believe that's the new 120p mode, it looks very bad. I saw the same thing in all the 120p X-H1 videos I could find. There is a reason they left this out from the X-T2 which has the same processor. They kinda had to include it in the X-H1, but it's seems there's a price to it.

The first image shows an image encoded with data levels interpreted as video range. It will look more contrasty than it really is. Premiere does that with the NX1's files, that's why you have to do the remapping. So your "before" image should be the one after the fast color corrector, this way it's a bit misleading as correcting a bad interpretation is not part of the recovery.

This is from the dpreview first impressions artice: "A linear response option for focus-by-wire lenses is something we've long been calling for, but Fujifilm is the first manufacturer to listen" I also saw in in some youtube video, can't remember which one, but the feature is really there.

I'm not sure if this was mentioned before, but there is a very annoying bug with the X-T2, and it is still present in the X-H1. If you use the grip and one of the batteries dies, recording will stop. This means you have to guess how many minutes you have left in the battery that is currently used, and plan accordingly. If you think the remaining time is not enough, you have to pull that battery from the grip. This is a pain in the ass really.

I'm sure not many people shoot F-Log with the X-T2. I do, and in many cases the footage is unusable because of the noise in the red channel. Sometimes it's really bad, like the implementation is broken somehow. Now I downloaded some X-H1 F-Log footage from the photographyblog.com, and it seems that they solved this issue. This is big news for a few people, me included

I use the Video Assist 4K to record F-Log from the X-T2, and I really hope Fuji upgraded the implementation in the X-H1. The red channel is a mess, even the slightest grade can create pinkish blotches. And this is something you can't remove with noise reduction. I've worked with 8bit C-Log and 8bit S-Log2, and to my eyes they are cleaner. So yeah, 8bit can be enough, but it's certainly not enough for F-Log, not with the current implementation. It also has a very obvious green tint, so you have to deal with that too.

It records in the color space defined by Rec.2020, just like the X-T2 (with external recorder). The X-T2 is 8bit only, and I'm afraid the same is true for the X-H1, which is very unfortunate.

Just asking, is there a chance that you interpreted HLG as video range in your NLE? My understanding is that it's full range, and it might look clipped when interpreted as video range, even though it is not.

I wish they added 4K60, but yeah, probably not gonna happen. I also wish for 10bit, internally or externally. I'm shooting F-Log with the X-T2 and with 8bit it leaves some to be desired. And I'm not sure if it's just my X-T2 or a general issue, but the camera gets hot relatively fast when you use HDMI out. And thermal noise appears after a few minutes at ISO 6400 and above, which you won't see when you only record internally. Oh and it would be great to have waveforms or rgb parade in video mode. And adjustable zebras.

Well, in theory you could build a Cordova/Phonegap app where the index.html inside the app does nothing but a window.location.href redirection (as long as the target URL is whitelisted in the app). Then it would be the same as your app, and it could be compiled for other platforms too. I haven't tested it but I don't see why it wouldn't work.

Cordova/Phonegap is not made for redirecting to a web URL, it packages your entire web application into the app, and it runs it in a webview. It gives you access to hardware functions though specific javascript calls, and compiles to multiple platforms without too much effort. I'm not sure if this would work out for you, it all depends on the HTML5 support of the webview engines on each platform. Just something I though you might want to take a look at.

Wouldn't it work in a webview? Then you could compile it with Cordova/Phonegap to multiple platforms.

Which display do you use to record patches from? We discussed earlier that you don't want to tell what you do with out-of-gamut colors, but maybe you can tell me if those are simply extrapolated or you use some other kind of sorcery, maybe recording a few values from real life? You can reply in private if that's better. The reason I ask is because I also do conversions the same way you do, with my own software, and the values my monitor can't show are extrapolated, which is always to be taken with a grain of salt. I could use some hint from someone with more experience. I'm no competition btw, if that matters.

Nice, will that translate to double tap in the app? Btw is the app developed separately or do you use the same page in a webview?