FS5: Fs5 + xt3

scorsesefan

scorsesefan

Veteran
Starting a new doc and I would like to pair my Fuji XT3 with my FS5. My plan is to use the Fuji for verite and the FS5 for sit down interviews and b-roll (establishing shots, etc.) I have already shot a test with the XT3 with a subject in his car and the XT3 shined with its AF and small size (battery life not so good).

How will the FS5 match? I plan to shoot both cams in Log, but I know that Sony and Fuji have radically different color sciences and "looks".

Anyone using these two together? Thanks
 
I've matched FLOG from the X-T3 with SLOG from Sony cameras (F3 and F55) a couple of times now. It's not easy. You'll definitely want to shoot detailed colour charts under multiple light conditions (Daylight, Tungsten and whatever artificial lights you'll be using) to build a LUT to match them.
 
Thanks, guys. Do you think it's worth it or should I trade the XT3 in for a Sony camera? I was thinking about the A7rii or A7sii but I've heard they have overheating issues and I love the 10 bit of the Fuji...
 
scorsesefan said:
Thanks, guys. Do you think it's worth it or should I trade the XT3 in for a Sony camera? I was thinking about the A7rii or A7sii but I've heard they have overheating issues and I love the 10 bit of the Fuji...
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Definitely not. While I find the X-T3 difficult to match to Sony’s default colour science, the 10-bit output means that you can. The Sony stills cameras I find almost impossible to match, because SLOG just doesn’t work in 8-bit, it’s spread too thin. So you’re left recording to non slog picture profiles, then having to match colours and contrast from there (which is rough).

I wish the Sony stills cameras would let you burn in their standard 709 LUTs on top of SLOG. It would get the image much closer to their video cameras, but without breaking down due to the low bit depth.
 
Grug said:
Definitely not. While I find the X-T3 difficult to match to Sony’s default colour science, the 10-bit output means that you can. The Sony stills cameras I find almost impossible to match, because SLOG just doesn’t work in 8-bit, it’s spread too thin. So you’re left recording to non slog picture profiles, then having to match colours and contrast from there (which is rough).

I wish the Sony stills cameras would let you burn in their standard 709 LUTs on top of SLOG. It would get the image much closer to their video cameras, but without breaking down due to the low bit depth.
Click to expand...

Got it. I really love the XT3's colors and I don't want to go away from 10 bit. I'm respectable at CC so I'll give matching the two a shot...
 
Do you think I will be painting myself into a (color correction) corner if I shoot 4K on the FS5 (controlled interviews and B-Roll)? Shooting verite 4K on the Fuji...
 
scorsesefan said:
Do you think I will be painting myself into a (color correction) corner if I shoot 4K on the FS5 (controlled interviews and B-Roll)? Shooting verite 4K on the Fuji...
Click to expand...

Set WB correctly and use color charts and you can match anything. Using neutral and accurate camera settings can make it easier.
 
Grug said:
Definitely not. While I find the X-T3 difficult to match to Sony’s default colour science, the 10-bit output means that you can. The Sony stills cameras I find almost impossible to match, because SLOG just doesn’t work in 8-bit, it’s spread too thin. So you’re left recording to non slog picture profiles, then having to match colours and contrast from there (which is rough).
Click to expand...

It's interesting that you say this. For long time I thought about buying sony A7S, A7Sii or similar to use with my F35. Since they sony I thought it would be best match. Even if I like fuji and 5D RAW images better. Reading you I guess I'm better with a fuji for second camera to F35 then? Or maybe 5D RAW? I was afraid matching F35 would be too difficult with them. But if you say Sony stills camera will be almost impossible.
 
I don't disagree the cameras (Fujifilm/others) are matchable, but you're really making it difficult for yourself not using two Sonys.

People mean well, but they won't be doing it themselves and have no idea how much work you could be creating for yourself. If it's a few shots, sure. But for a documentary? It's not practical to be matching them.

I know you own both and I have repeatedly made the same mistake in my career just to save a few bucks. It's not worth the headache.

I highly recommend watching some videos (there are thousands) on YouTube.

a7III...one of the best and most popular cameras in the world. Not much more than a7SII or a7RII (buying either over the a7III would be a mistake).
 
NorBro said:
I don't disagree the cameras (Fujifilm/others) are matchable, but you're really making it difficult for yourself not using two Sonys.

People mean well, but they won't be doing it themselves and have no idea how much work you could be creating for yourself. If it's a few shots, sure. But for a documentary? It's not practical to be matching them.

I know you own both and I have repeatedly made the same mistake in my career just to save a few bucks. It's not worth the headache.

I highly recommend watching some videos (there are thousands) on YouTube.

a7III...one of the best and most popular cameras in the world. Not much more than a7SII or a7RII (buying either over the a7III would be a mistake).
Click to expand...

Thanks for the advice. But aren't all of the Sony A series camera 8 bit? This lack of flexibility concerns me a bit...
 
If you watched some samples instead of worrying about the spec you wouldn't have asked that! haha

All of the Sony mirrorless' are 8-bit. But I would rent the camera for a day (if you can) and try it out. You will be surprised.

IMO, the 8-bit vs. 10-bit chit-chats are blown way out of proportion unless you're planning on messing up a lot inside your camera or adding 5 LUTs to your footage.
 
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