Attila Bakos Posted March 5, 2018 Share Posted March 5, 2018 I recently finished this project. If you like the results, download the LUTs for free on colorizer.net. Vladimir, webrunner5, Trek of Joy and 3 others 6 Quote Link to comment Share on other sites More sharing options...
Don Kotlos Posted March 5, 2018 Share Posted March 5, 2018 Nice. And if you don't have a fuji but want to get these simulations, you can find the rec709->film simulations LUTs here: jonpais 1 Quote Link to comment Share on other sites More sharing options...
Attila Bakos Posted March 5, 2018 Author Share Posted March 5, 2018 23 minutes ago, Don Kotlos said: Nice. And if you don't have a fuji but want to get these simulations, you can find the rec709->film simulations LUTs here: If you accept my opinion, you should work on your interpolation, the transitions of your LUTs are very rough. I'll post an example in your thread soon. Don Kotlos 1 Quote Link to comment Share on other sites More sharing options...
Attila Bakos Posted March 11, 2018 Author Share Posted March 11, 2018 I downloaded an X-H1 F-Log footage shot by Ryan Carlson, you can find the sources here: https://www.youtube.com/watch?v=iTVzlV6trak I applied WB correction to the eye, then my LUTs, then the same contrast curve to all versions. Again, the LUTs are available as a free download from colorizer.net. When you use them on X-H1 footage, switch the clips to use video levels! Original F-Log Provia Velvia Astia Classic Chrome Pro Neg Hi Pro Neg Std Quote Link to comment Share on other sites More sharing options...
Inazuma Posted March 11, 2018 Share Posted March 11, 2018 Nice video Attila! God I can't believe how good the Fuji stuff looks. It's not ALWAYS right, but when it is - god damn!! Really making me re-consider the X-H1 over the A7 III. Edit: Oh wait, this footage is actually from the XT2. Damn! Hah. Who needs FLOG when the standard profiles already have as much dynamic range as necessary. Attila Bakos 1 Quote Link to comment Share on other sites More sharing options...
deezid Posted March 11, 2018 Share Posted March 11, 2018 Going to download these samples. Looks like there's lots of macro blocking. Looks like GH4 footage honestly, the GH5 is way cleaner. Jumping on the 10 bit train was a good decision for sure. Eterna should be a better option on the X-H1. Will try and see... Quote Link to comment Share on other sites More sharing options...
Super Members BTM_Pix Posted March 11, 2018 Super Members Share Posted March 11, 2018 Just for completeness, here is the F-LOG frame with Fuji's own ETERNA LUT from their recent v1.1 LUT Pack release. WB on the eye, no additional changes. Quote Link to comment Share on other sites More sharing options...
Attila Bakos Posted March 11, 2018 Author Share Posted March 11, 2018 41 minutes ago, Inazuma said: Edit: Oh wait, this footage is actually from the XT2. Damn! Hah. Who needs FLOG when the standard profiles already have as much dynamic range as necessary. Yeah I used my X-T2 to create the LUTs, I just tried them on the X-H1 too and they seemed to work. I sold my X-T2 but I'm not sure if it was a good idea. I wanted to get the X-H1, but it has serious AF issues, lots of moiré/aliasing in not just 120p, but 60p as well, and I've seen jerky movement with IBIS in more videos. In many ways the A7III looks better, but I can't leave Fuji just yet, I love the colors and their lenses. With my method I could create Fuji LUTs for the Sony though, but I will wait and see if Fuji can fix the mentioned issues. @deezid is unfortunately right, when you shoot F-log, there will be blocky noise which is not, or not entirely related to compression, and I see it especially in the red channel. At first I thought they fixed this in the X-H1, but now I see it in Ryan Carlson's footage. I had this even with externally recorded ProRes on the X-T2. This is the red channel after nothing but a color space conversion and an s-curve: Once you start pushing the footage, you will need heavy noise reduction. I'm not sure if this is normal. This is the red channel of ProRes from the X-T2 + Video Assist 4K, again, only color space transformation and s-curve: You can't see if from these still images but this noise is all over the face, especially problematic in the darker parts. deezid 1 Quote Link to comment Share on other sites More sharing options...
deezid Posted March 11, 2018 Share Posted March 11, 2018 Looked at the eterna footage. Looks pretty good to me. No crazy oversharpening like internal X-T2 footage anymore. Quite organic actually with some nice color and smooth grain. @Attila Bakos yh, that sucks. Was pretty hard for me to deal with it in Resolve (GH4 V-Log footage). Almost impossible to get rid of. Quote Link to comment Share on other sites More sharing options...
Attila Bakos Posted March 11, 2018 Author Share Posted March 11, 2018 Can anyone tell if S-Log2 from the newer Sony bodies is cleaner? Quote Link to comment Share on other sites More sharing options...
deezid Posted March 11, 2018 Share Posted March 11, 2018 2 minutes ago, Attila Bakos said: Can anyone tell if S-Log2 from the newer Sony bodies is cleaner? Only tried the A7SII. Was a terrible experience with skies or other plain backgrounds. S-Log 3 completely unusable, even worse than V-Log L on the GH4. Cine4 + Pro Color or Sgamut3.cine was the go-to with similar dynamic range but way cleaner. Quote Link to comment Share on other sites More sharing options...
Attila Bakos Posted March 11, 2018 Author Share Posted March 11, 2018 I'm just checking some outdoors S-Log2 footage coming from the A7RII, and the red channel is almost as bad as the Fuji's. I don't know what to think, maybe this is what you get with 8bit log. I'll try to download some 10bit GH5 V-Log L soon and see if 10bit makes a difference. Quote Link to comment Share on other sites More sharing options...
deezid Posted March 11, 2018 Share Posted March 11, 2018 1 minute ago, Attila Bakos said: I'm just checking some outdoors S-Log2 footage coming from the A7RII, and the red channel is almost as bad as the Fuji's. I don't know what to think, maybe this is what you get with 8bit log. I'll try to download some 10bit GH5 V-Log L soon and see if 10bit makes a difference. The cleanest 8 bit Log footage I've seen so far comes from Canon (C200 e.g), comes close to 10 Bit V-Log on the GH5 which is amazing. Attila Bakos 1 Quote Link to comment Share on other sites More sharing options...
BlueBomberTurbo Posted May 9, 2018 Share Posted May 9, 2018 On 3/11/2018 at 8:36 AM, deezid said: Only tried the A7SII. Was a terrible experience with skies or other plain backgrounds. S-Log 3 completely unusable, even worse than V-Log L on the GH4. Cine4 + Pro Color or Sgamut3.cine was the go-to with similar dynamic range but way cleaner. Shooting internally or externally? S-Log3 is too much for the internal codec to handle. Comes out fine on higher quality external recorders. S-Log2 is also fine internally. Quote Link to comment Share on other sites More sharing options...
Walter H Posted July 24, 2018 Share Posted July 24, 2018 @Attila Bakos Hello! I just made a donation to you at colorizer.net and thanks for creating this LUTS. Is there any consideration still to make a flat Eterna LUT? I just find the backed in contrast of Fuji's Eterna LUT too severe as a starting point but I do think the color is beautiful. Curious. Still shooting with my X-T2. Quote Link to comment Share on other sites More sharing options...
Attila Bakos Posted July 24, 2018 Author Share Posted July 24, 2018 7 hours ago, Walter H said: @Attila Bakos Hello! I just made a donation to you at colorizer.net and thanks for creating this LUTS. Is there any consideration still to make a flat Eterna LUT? I just find the backed in contrast of Fuji's Eterna LUT too severe as a starting point but I do think the color is beautiful. Curious. Still shooting with my X-T2. Thanks a lot! I don't have a Fuji body at the moment, but I have some savings for the X-T3. If it turns out to be good then I'll make new LUTs. Until then visit my experimental project: http://colorizer.net/index.php?op=lut_contrast With this tool you can remove the contrast curve of a 3D LUT. With the method I use the curve of the Eterna LUT can't be removed without distortion of the RGB transformation, but you won't necessarily see it in real-life footage. Maybe try 50% strength or less. Walter H 1 Quote Link to comment Share on other sites More sharing options...
Ferenc Blaser Posted March 28, 2019 Share Posted March 28, 2019 Köszi szépen! Veszprém LUT-ok nélkül is gyönyörű! : ) Great Job thanks, Veszprem is beautiful even you do not use LUT's! Quote Link to comment Share on other sites More sharing options...
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