Thanks bro!!

Thanks so much!

Glad it was helpful! And I'm still trying to get the folks at Blackmagic to add support for F-Log2.

I'm actually one of the most qualified KZfaqr to be selling LUTs, as I am a professional colorist 😉

Absolutely

I have the X-H2S and the in-camera zebras only go down to 50, so I'd imagine it's the same on X-T3. In that case, you'll have to use an external monitor that has zebras that can be set to 46. Then hold an 18% grey card near where your primary subject is/will be and adjust the camera's exposure until zebras show on the 18% grey card. You can also use a waveform (which, of course, the Fuji cameras don't have so external monitor again). Place the grey card in your scene and adjust the exposure in camera until the grey card is sitting at 46IRE on the wave form

Absolutely! Glad it was helpful.

Thanks man!

F-Log and F-Log2 input color space is Rec.2020

Thanks for watching

Absolutely! Thanks for watching

Hi, yes definitely. I have the base conversion LUT loaded onto my SmallHD for monitoring. If I'm using the built-in screen on the X-H2s, I use the gamma display assist, which will correspond correctly with my conversion LUT when I apply it in post. Instead of converting the drone footage to F-Log2, I converted it to the "common denominator", if you will, or the timeline color space of Rec.709. It is true the two cameras will capture slightly different colors, but I would be overcomplicating the workflow and the colors wouldn't necessarily match if I converted the drone footage to F-Log2 first. It will be much easier to perceptually match the two cameras in my timeline color space.

Not necessarily. Basic adjustments like exposure, white balance, contrast, saturation, etc. are best before but I prefer to make creative adjustments like tone curves and looks after the transform because it’s easier to control.

Hi, at this point Resolve hasn't added F-Log2 to their colorspace transform tool. You can use F-Log with similar results, you'll just have to adjust the exposure using the offset. Or you can download Fuji's conversion LUTs, or I've linked my own F-Log2 LUTs in the description. The gamut of F-Log, called F-Gamut by Fuji complies with Rec.2020 so that's what you would choose for input colorspace.

@@EvanSchneider thank you this is really helpful

@@capturedtime4145 BRO! I so needed this answered as well. I was also using gamut 2.4, and once I switched it over to F-Gamut I can finally get the look I was looking for. Thanks for asking, and thank you @Evan Schneider for answering!

Thanks! I wouldn't group the clips for this one, but when I do group clips, I only group them if they're using the exact same grade, for instance an interview shot intercut through an entire project. In this sequence, if I grouped them, it would save me time at the beginning but it would add extra steps down the process when I want to balance each shot individually and have to start switching between pre-group, post-group and clip. Best to keep it simple, plus I didn't want to overcomplicate the tutorial too much. Thanks for the question.

@@EvanSchneider thanks for the explanation. I wish I didn’t buy the conversion I saw yesterday because yours gives a TON of more options and flexibility. It’s definitely something on my list to get though. Just picked up a xh2s last week and im loving it so far. It’s a few firmware upgrades from being the one and some camera.

@@EvanSchneider there’s actually a benefit to having your CSTs and global look in groups! It’s a lot easier if you want to change your output transform or modify something in your look rather than going through all of clips again

That’s the minimum iso when filming in F-Log2, so that’s why you see most people shooting like that

I hope he answers, dude is swamped lol I tried email and everything about color pipeline of xh2s and this would be helpful.

@@Thaddeuspryor I am doing my research .... and will share all knowledge I gather ... :D

Thank you!

Hey, thanks! Most of my Fuji LUTs act more as a starting point than a final grade. There are some creative looks that might get you close to Astia, but if you're looking for that specific look it might be best to grade it manually. I will say that my Fuji LUTs will give you a better starting point with F-Log2 than the Fuji free ones.

Unfortunately not, it’s only for the built in screen. I have my conversion LUTs loaded in to my SmallHD for external monitoring.

Hi, thanks for watching. For this node tree, my color management was set to DaVinci YRGB, timeline color space was set to Rec.709 Gamma 2.4, and my output was set to Same as Timeline. This allows me to have manual control of the color management via the node tree. If you're setting up a similar node tree/workflow, I would recommend setting your timeline colorspace to Rec.709 2.4 and output the same as your timeline. If you're working on a Mac and you want your export to match what you see in the Resolve viewer, you could set your output colorspace to Rec.709-A and then in Preferences > General, make sure to check the boxes on for "Use Mac display color profiles for viewers" and "Use 10-bit precision in viewers if available".

@@EvanSchneider Thanks a lot for throwing some light on this Evan. You made it all clear and crisp.

Thanks, yeah it's a nice little trick to keep in the back pocket!

Thanks!! No, if the footage is F-Log or F-Log2, the LUT serves the same purpose as a CST.

Thanks Evan! One last question - what white balance do you set your xh2s at when shooting, to get the best results from your LUT? I know it depends on the environment but any advice generally speaking?

Hey, thanks! Glad you like them. This was all shot in ProResHQ if I remember correctly.

Hey yes it will start soon!

You could, but I don't. I've gotten used to just doing it by eye and saving the highlights using the F-Log view assist in camera. From there I have enough flexibility to dial it in when I grade.

What colorspace are you working in and outputting to in your color management?

I don't use zebras. I expose to how it looks on the screen, keeping it around 0 on the meter and avoiding blown out highlights. But 70% seems high for skin tones. Middle grey on F-Log2 is at 39%, so I would keep skin tones around there (plus or minus 5-10%)

I believe the X-T4 supports F-Log only, not F-Log2.

Nice, was up there for thanksgiving to see extended family