Fuji X-H2 in the house

[Dustin Jenkins]

Sure. I don't have 2 copies of the same lens so I won't be able to shoot them simultaneously.

I might be able to get some black magic shots too, I don't own any canon or Sony since I've gone to Fuji.

[Attila Bakos]

2 hours ago, Dustin Jenkins said:

Sure. I don't have 2 copies of the same lens so I won't be able to shoot them simultaneously.

I might be able to get some black magic shots too, I don't own any canon or Sony since I've gone to Fuji.

It's not important to shoot at the same time for this test, if the light is more or less the same then it's fine. When you shoot with other cameras, please use a format that's encoded in YCbCr (h.264, h.265, ProRes for example), as raw won't have this problem.

[kye]

9 hours ago, Dustin Jenkins said:

Sure. I don't have 2 copies of the same lens so I won't be able to shoot them simultaneously.

I might be able to get some black magic shots too, I don't own any canon or Sony since I've gone to Fuji.

and if you stop both lenses down at least a couple of stops from wide open then they should all be nice and sharp so there won't be any resolution issues between them.

[Dustin Jenkins]

Here is a link to all the footage.

All shot with the xf 23mm f1.4 R LM WR at F4. Iso was at the base iso for each respective flog 2 and the shutter speed was changed to get similar exposure. NR and Sharpening at -4 and no interframe NR.   Video levels for Prores and full range for HEVC. 

Files are named what they are, e.g. XH2 PRHQ is Prores HQ shot on the x-h2.

https://drive.google.com/drive/folders/1h7OQtCirDoy9fcxxZaIDBxlJOPEn-Dcx

[Andrew Reid]

https://we.tl/t-ZnnuboUFed

That's another X-H2 ProRes 422 HQ clip in 8K (FLOG 2)

Autumn trees at infinity

Will be interesting to see how (or if) the processing has changed

[nickname]

Thanks guys, this is really interesting. The chroma noise reduction that you are describing sounds like the reason I never liked the look of Fuji video. Always seemed flat and textureless to me. Suspected it to be baked in processing. Makes so much sense now!

 

It's a real pity that Fuji doesn't give you the unprocessed noise. For me that's one of the main differentiators between hybrid and cinema.

[Andrew Reid]

What's interesting is that the Digital Bolex used a completely separate board for the Kodak CCD sensor internally. This was to avoid introducing noise which would need cleaning up and it is that step in the pipeline that hurts the nuances of a sensor according to Joe Rubinstein.

So it might be that with the modern cameras and their single circuit board, there's simply too much pre-processing going on and too much interference with the signal coming back off the sensor, which lends more digital look. It would be lovely to get the look of a Digital Bolex in a modern mirrorless camera. We'll see if we can harangue the X-H2 into looking more 'raw'.

[Attila Bakos]

Thank you for all the clips, I hope I can take a look at them this evening.

[Attila Bakos]

Here is a short demonstration of the Cr channels: https://drive.google.com/file/d/1veiqGodXKxerdNF_ksqLlAnFWbGQUtEe/view?usp=sharing

8bit is rubbish, never ever use it. 10bit is somewhat better than on the X-T3/4, but the chroma smoothing is still there, ProRes doesn't seem to help either. Interestingly the X-H2s seems to have more smoothing than the X-H2.
As much as I love Fuji for stills, I think I'll stick to other brands for video as I'm very sensitive for this kind of stuff, but for 99.9% of Fuji video shooters this is still a non-issue I guess.

[TheRenaissanceMan]

On 10/25/2022 at 9:43 AM, nickname said:

I's a real pity that Fuji doesn't give you the unprocessed noise. For me that's one of the main differentiators between hybrid and cinema.

They kinda do as long as you're willing to shoot+process RAW

[Dustin Jenkins]

On 10/26/2022 at 5:16 PM, Attila Bakos said:

Here is a short demonstration of the Cr channels: https://drive.google.com/file/d/1veiqGodXKxerdNF_ksqLlAnFWbGQUtEe/view?usp=sharing

8bit is rubbish, never ever use it. 10bit is somewhat better than on the X-T3/4, but the chroma smoothing is still there, ProRes doesn't seem to help either. Interestingly the X-H2s seems to have more smoothing than the X-H2.
As much as I love Fuji for stills, I think I'll stick to other brands for video as I'm very sensitive for this kind of stuff, but for 99.9% of Fuji video shooters this is still a non-issue I guess.

Are you selling your ycbcr extractor dctl? I'm using GIMP but it doesn't have a contrast and pivot and I don't feel that I'm getting the same results that you are.

[Attila Bakos]

8 hours ago, Dustin Jenkins said:

Are you selling your ycbcr extractor dctl? I'm using GIMP but it doesn't have a contrast and pivot and I don't feel that I'm getting the same results that you are.

No I'm not selling it yet, but I validated my results with ffmpeg as it can extract the chroma channels as grayscale and I can safely say that my results are correct.
How do you extract the channels in gimp?

[TheRenaissanceMan]

Test clips are nice, but any chance of seeing an actual finished product shot with this camera?

 

[Dustin Jenkins]

In Gimp there is a Colors menu and in that is Component>Extract Component and in there you can extract many different channels, one of which is "YCbCr Cr" and it extracts the Cr channel from YCbCr (I assume, at least. Seems pretty self explanatory)

[Attila Bakos]

1 hour ago, Dustin Jenkins said:

In Gimp there is a Colors menu and in that is Component>Extract Component and in there you can extract many different channels, one of which is "YCbCr Cr" and it extracts the Cr channel from YCbCr (I assume, at least. Seems pretty self explanatory)

How do you import the video into GIMP? We can move to private message.

[Daniel Robben]

On 10/26/2022 at 11:16 PM, Attila Bakos said:

Here is a short demonstration of the Cr channels: https://drive.google.com/file/d/1veiqGodXKxerdNF_ksqLlAnFWbGQUtEe/view?usp=sharing

8bit is rubbish, never ever use it. 10bit is somewhat better than on the X-T3/4, but the chroma smoothing is still there, ProRes doesn't seem to help either. Interestingly the X-H2s seems to have more smoothing than the X-H2.
As much as I love Fuji for stills, I think I'll stick to other brands for video as I'm very sensitive for this kind of stuff, but for 99.9% of Fuji video shooters this is still a non-issue I guess.

I checked this chroma smoothing issue on my X-H2s and I noticed that the chroma channel details are far better preserved when NOT using f-log or f-log2.

Luma channel seems to perform the opposite, however not as significant.

[Daniel Robben]

On X-H2s there is a significant chroma channel detail difference between f-log or f-log2 and normal profiles. Latter are far better. See below Cb Channel of Eterna and f-log2.

[Attila Bakos]

On 11/22/2022 at 10:08 PM, Daniel Robben said:

I checked this chroma smoothing issue on my X-H2s and I noticed that the chroma channel details are far better preserved when NOT using f-log or f-log2.

Luma channel seems to perform the opposite, however not as significant.

Yes the log profiles are worse. Btw when you're testing chroma components in Fuji files, make sure to skip the first few frames, those are worse than the rest.

[Daniel Robben]

2 hours ago, Attila Bakos said:

Yes the log profiles are worse. Btw when you're testing chroma components in Fuji files, make sure to skip the first few frames, those are worse than the rest.

Thanks, yes, I reckonized but thought that's normal for non-all-intra frame encoding like long GOP. From my head I believe in prores first frames were same quality as following.

[Attila Bakos]

10 hours ago, Daniel Robben said:

Thanks, yes, I reckonized but thought that's normal for non-all-intra frame encoding like long GOP. From my head I believe in prores first frames were same quality as following.

Ah yes you are probably right 🙂