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Work was busy, and i didn’t get a chance to call, but I am kind of glad, as i can add @laverdir’s question when i call tomorrow morning.
Fuji X-T3 released
- Thread starter Ken1212
- Start date
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4K playback is smooth. Even with one color adjustment added.
4K footage on 1080p timeline is smooth.
Proxy’s weren’t even necessary.
When the computer had 8gb RAM, 4k looked like it was dropping frames. Added RAM and everything smoothed out. Could still be dropping frames, but playback is smooth to the eye. I haven’t attempted 4k 60fps yet.
Pretty relieved. I had heard how processor hungry h.265 was, but until now had no real world concept of what that meant exactly.
Computer specs: 2019 iMac 27” base model + 32gb RAM (40gb total), running Davinci Resolve 15
4K footage on 1080p timeline is smooth.
Proxy’s weren’t even necessary.
When the computer had 8gb RAM, 4k looked like it was dropping frames. Added RAM and everything smoothed out. Could still be dropping frames, but playback is smooth to the eye. I haven’t attempted 4k 60fps yet.
Pretty relieved. I had heard how processor hungry h.265 was, but until now had no real world concept of what that meant exactly.
Computer specs: 2019 iMac 27” base model + 32gb RAM (40gb total), running Davinci Resolve 15
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Where the camera knows the lens and all parameters: a firmware update which compensates could fix this issue.
Makes sense- recent CPU and GPU are plenty fast (especially if Resolve is using more of the GPU (which it does in general vs PP and FCPX)).
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I haven’t looked at processors in 8years, so, was one of those things, where i wasn’t sure what 8th gen meant for i5 3.0. And given Apple’s generally lackluster base model specs, idk, i figured it was worth the chance. Basic video and color doesn’t take much for the most part. But with tax, the base 27” iMac is $2K. Additional $600 if you upgrade to 32gb ram. Pretty crazy, but pretty seemless user experience. ....oh wait this is the fuji thread.
Looking closely at the -4 sharpening setting on the X-T3, i think i am seeing softening. Very subtle. It isn’t blurring, just softening. A slight hazy softening in lo contrast areas. -2 looks relatively natural, sharp but not over hyped. 0 sharpness setting is too sharp for my tastes, and is not kind to blemishes or wrinkles. The is the feeling of the “sharpening halos”.
Been using the cinema/eterna only. The dr200 and dr400 are fantastic! And the highlight tone depending on the scene can get things in a really good way in camera. Highlight tone down to subdue a window, and highlight tone up when shooting a white bg.
The reds in cinema eterna color profile are just slightly more muted than i would like. That said, it is a look. And there are other color profiles. Overall eterna cinema gives very good palette. I like what i see on the monitor, and colors for the most part don’t look far off. If i could, i would have reds just a 0.01 percent more red. Subtle makeup disappears. Lips and blush go tan. But i prefer that to the magenta canon days.
Looking closely at the -4 sharpening setting on the X-T3, i think i am seeing softening. Very subtle. It isn’t blurring, just softening. A slight hazy softening in lo contrast areas. -2 looks relatively natural, sharp but not over hyped. 0 sharpness setting is too sharp for my tastes, and is not kind to blemishes or wrinkles. The is the feeling of the “sharpening halos”.
Been using the cinema/eterna only. The dr200 and dr400 are fantastic! And the highlight tone depending on the scene can get things in a really good way in camera. Highlight tone down to subdue a window, and highlight tone up when shooting a white bg.
The reds in cinema eterna color profile are just slightly more muted than i would like. That said, it is a look. And there are other color profiles. Overall eterna cinema gives very good palette. I like what i see on the monitor, and colors for the most part don’t look far off. If i could, i would have reds just a 0.01 percent more red. Subtle makeup disappears. Lips and blush go tan. But i prefer that to the magenta canon days.
You can buy 3D LUT Creator to adjust that in 30 seconds and you will be good to go with one click in Resolve as well as creating a LUT for your monitor. I commonly do this to match my cameras to an Alexa.
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scorsesefan
Veteran
Oh, you're using Resolve. I'm in PP 2019. H265 is laggy. I have to dive into Resolve's editor deeper...
Am liking what I see from this camera, have trawled through this massive thread and didn't notice any mention of HD quality, don't need 4k very often and not sure my computer could handle 4k h265 without transcoding which would be a real pain. I'm coming from the Canon c100, how does the hd quality compare regarding sharpness? Colour wise I'm liking it a lot and DR seems to be better. Presume you can do 10 bit internal in HD too? Having used a Sony a6300 the 4k was very sharp but the hd very disappointing, hopefully the Fuji is not the same...
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HD iq is good. I started shooting in HD. Although, i was shooting 10bit H.265 HD. It has been a while since i have seen native C100 footage. My assumption is that cameras like the C100, which have sensors designed around video resolutions, that it could be more naturally sharp. The Fuji has the look of a good down sample. But i am also viewing it on a 5K screen in fullscreen, so that may be influencing my perception. It’s up there with the A7sII, imho. But i am not splitting hairs or anything. If it really matters, then yeah, do your own testing.
puredrifting
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I've been shooting -2 sharpening, it's a good compromise. I also tested -4 and adding sharpening in FCP X +2 level and it looked decent. I agree, the stock setting is too sharp and you do see haloing.
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That’s cool.
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Resolve’s editor has some quirks. I am still figuring out good hot keys that work with it, since The coloring side takes up some of the options. But I like going from edit to coloring in davinci with a single click instantly.
Great thanks for the feedback, that's good enough for me
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“It shouldn’t” is the official word.
puredrifting
Major Contributor
That was from your Fuji connection? Any idea of retail on that lens?
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Not so much a connection, as the support tech for X series cameras. So, he may not know the specifics either. I’ll call him again tomorrow. He was looking into the Mixpre3 timecode issue.
He gave me his email to send all the update suggestions, i’ll probably mention them again to see which ones are possible. Obviously the micro hdmi thing isn’t, as you mentioned.
For PP CC, you can import clips with Ingest settings to enable proxies. For Resolve it's called Optimized Media (in Project Settings). Resolve is a bit easier, it's like FCPX once set up, and does everything in the background. PP CC fires up AME to create he proxies, only on import (Resolve re-renders transitions etc., dynamically, like FCPX). In Resolve 16 beta 2, my old 2013 MBP using Metal (GeForce GT 750M; no more CUDA after Mojave), using the test X-T3 H.265 footage (50 & 60p), Resolve fairly quickly converted clips to 1/2 res ProRes Proxy (smallest files possible) and it was pretty fast, where the ProRes Proxy files were 161MB vs. 343MB for ProRes LT (note default is full resolution ProRes HQ, which will be massive files in 4K).
That's encouraging.
puredrifting
Major Contributor
Keep us updated on what you hear from him on the MixPre3 issue. It would be nice to not have to use the Tentacle Syncs for a simple sit down one camera interview, just plug the mics in the MixPre3, run HDMI from the XT-3 and output the unbalanced to the 3.5mm input on the XT-3. The remote triggering would be nice.
As far as that damned micro HDMI, it gets the award as worse consumer standard connection of all time. It makes a plastic 3.5mm jack, which I railed against for over a deacde until Panasonic put a metal one on the DVX100, (most prosumer cameras before the DVX100, like all of the Sonys had plastic headpphone jacks that would becomwe loose and floppy too after just using it a few times!) seem like a robust and professional connection. It's kind of torture to unhook the Shinobi from the XT-3 and then plug in the SDI BNC from the C200. Night and day.
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