Sincerely sorry for the audio, but I didn't want to record again :/ I hope this video offers you beginners some help!! Don't forget to look at all the links in the description.
Thanks, John! Always appreciate your work. Nice to finally see F-Log 2 as an option for CST. In it's absence I've been using ARRI LOG C3 up until now with great results. My workflow is different from yours in that I use a Davinci WG/Davinci Intermediate workflow until the end of the node tree (I have been utilizing your export settings from a previous video which have been working perfectly in terms of gamma translation, etc, so thanks for that) . I've just now downloaded Resolve 19 beta to try the F-Log 2 CST option. Interestingly, it seems nearly identical to the ARRI LOGC3 option. Highlights and midtones are nearly identical, but there is a slight lift and colour shift toward green in in the shadows in ARRI LOGC3 that I might prefer (and may even help to offset some of the magenta shift which I have also noticed with the X-H2S). Curious now to try grading a project from the ground up using the F-Log 2 conversion to see what I prefer moving forward.
That Arri CST trick is a workflow that I’ve actually come to love myself as well! I haven’t tried the Davinci WG flow yet but frankly it’s sort of just a “isn’t broke don’t fix” kinda thing - but you may have piqued my interest with your conclusion there!
What a legend! Just started playing around with flog2 in the last few days and didn't even notice that Davinci got a Flog2 update! Thanks for the fantastic overview :)
I thought that the magenta colour shift was from infared pollution. It's noticeable when filming in sunny conditions and appears strong in skin tones, darks and shadows. I bought an IR cut filter and it actually really helps!
Yeah! Someone else commented about a full video explaining it which is a great resource! I hope your comment is helpful too for someone browsing in the future!
@@johnstamw Yeah, it's something that I had experienced previously when I shot on a bmpcc 4k and it was even worse! I wish all cameras would have proper IR filtering!
John the "pink" issue is IR pollution - the IR filtering that fuji uses is not as strong as other brands - this may or not be what gives fuji colors a unique look. you can either stack an IR Cut filter on top of your existing NDs or find an IR/ND combo somewhere.
Wow really!? Thanks for offering some insight into that! Honestly hasn’t been terribly problematic for me, rarely do I need to make some easy adjustments in post, but I wanted to mention it here for transparency’s sake! Thanks for offering your help here.
That’s interesting! I have experienced a lovely sort of softness (likely the noise/grain) when compared with flog1 and CC, but I could be wrong. Appreciate you chiming in!
Good question! Shortest answer: I personally haven’t found myself needing the benefits of ALL-I and don’t want to double my data rate (200 is my preference for Long GOP vs 360 min for ALL-I). However, my advice in the video is really just a minimum guideline, I wouldn’t want any less data than 10bit422 Long GOP 200mbps. Anything more is awesome but gets expensive for storage for me.
Sincerely sorry for the audio, but I didn't want to record again :/ I hope this video offers you beginners some help!! Don't forget to look at all the links in the description.
Thanks, John! Always appreciate your work. Nice to finally see F-Log 2 as an option for CST. In it's absence I've been using ARRI LOG C3 up until now with great results. My workflow is different from yours in that I use a Davinci WG/Davinci Intermediate workflow until the end of the node tree (I have been utilizing your export settings from a previous video which have been working perfectly in terms of gamma translation, etc, so thanks for that) . I've just now downloaded Resolve 19 beta to try the F-Log 2 CST option. Interestingly, it seems nearly identical to the ARRI LOGC3 option. Highlights and midtones are nearly identical, but there is a slight lift and colour shift toward green in in the shadows in ARRI LOGC3 that I might prefer (and may even help to offset some of the magenta shift which I have also noticed with the X-H2S). Curious now to try grading a project from the ground up using the F-Log 2 conversion to see what I prefer moving forward.
That Arri CST trick is a workflow that I’ve actually come to love myself as well! I haven’t tried the Davinci WG flow yet but frankly it’s sort of just a “isn’t broke don’t fix” kinda thing - but you may have piqued my interest with your conclusion there!
What a legend! Just started playing around with flog2 in the last few days and didn't even notice that Davinci got a Flog2 update! Thanks for the fantastic overview :)
@@yannickpulver awh you’re too kind! Have fun with it, it’s beautiful
YES John i've been waiting for this video, I was literally going through all of your old ones yesterday
Well I’m so glad to hear that! I do hope it helps! It’s not chock full of new info but my old video is still surprisingly relevant.
Used your Flog Creative LUT on a recent trip to Japan and it's fantastic...thanks for these videos!
I believe I saw that! Thanks for the kind words:)
I’m a simple man. John makes a video, I click on it.
And I sincerely appreciate that about you hahah
I thought that the magenta colour shift was from infared pollution. It's noticeable when filming in sunny conditions and appears strong in skin tones, darks and shadows. I bought an IR cut filter and it actually really helps!
Yeah! Someone else commented about a full video explaining it which is a great resource! I hope your comment is helpful too for someone browsing in the future!
@@johnstamw Yeah, it's something that I had experienced previously when I shot on a bmpcc 4k and it was even worse! I wish all cameras would have proper IR filtering!
John the "pink" issue is IR pollution - the IR filtering that fuji uses is not as strong as other brands - this may or not be what gives fuji colors a unique look. you can either stack an IR Cut filter on top of your existing NDs or find an IR/ND combo somewhere.
Wow really!? Thanks for offering some insight into that! Honestly hasn’t been terribly problematic for me, rarely do I need to make some easy adjustments in post, but I wanted to mention it here for transparency’s sake! Thanks for offering your help here.
@@johnstamw no problem the credit goes to @josh_sattin his video: Fuji X-H2S - IR Pollution Issue // NiSi True Color VND
@@ijovy3 ah! i don't think i'd ever seen his follow up video, only his note about the "issue" thanks for this resource for others in the comments
F-Log 2 is definitely sharper than the other options from what I've tested, can be a positive or a negative depending on who you are
That’s interesting! I have experienced a lovely sort of softness (likely the noise/grain) when compared with flog1 and CC, but I could be wrong. Appreciate you chiming in!
f log is cool and all but since messing with f log 2 i completely agree.
Yup, f-log 2 just has something special
yes yes yes! Thank you!
So happy to help!
How did you get the f-log 2 in your input gamma?
I did a rare thing I never do and updated to the beta version! DR19 has f-log 2 support
is there any documentation online for FLog2 IRE values? ...what are your zebras / false color settings for grey and white?
Yes! I mention a few other TH-cam videos and I think one share specific data and Fuji makes public the white papers for each Log
@@johnstamw you mentioned 90 for white… may I ask your grey…. 45/48?
@@jmn2068 my 90 for white is pure guesswork on experience! I think 45 is about right though haha Gerald undone I believe is the video you need
For some reason when I apply the same CST on my footage it isn't as vivid and saturated as yours, still looks like LOG
Hmmm I’m guessing it may be your project color management
What’s the reasoning for using LongGOP over All-Intra?
Good question! Shortest answer: I personally haven’t found myself needing the benefits of ALL-I and don’t want to double my data rate (200 is my preference for Long GOP vs 360 min for ALL-I). However, my advice in the video is really just a minimum guideline, I wouldn’t want any less data than 10bit422 Long GOP 200mbps. Anything more is awesome but gets expensive for storage for me.
Do you still shoot with Classic Chrome? I thought that you're not using F-log anymore :)
I have a timestamp just for you right toward the beginning!
"for a multitude of reasons" mainly the awful auto focus updates. The single reason I have not updated cameras
That makes sense! Personally, across all technologies I’m just wary of any updates that are not functionally necessary.