Just a hunch- try starting AME first, so it's already running when you do the import in PP CC. Also trying switching to Metal if using OpenCL or vice versa if still having issues.
Fuji X-T3 released
- Thread starter Ken1212
- Start date
Just a hunch- try starting AME first, so it's already running when you do the import in PP CC. Also trying switching to Metal if using OpenCL or vice versa if still having issues.
scorsesefan
Veteran
Thanks, I will try that. Switched to metal recently but I believe I was using open cl when this happened. I'm on Mojave so prob should be using Metal anyway...
G
Guest
Guest
The MixPre3 compatibility issue is postponed a few days. It was an issue that had to go to a higher level to get solved.
Talking with the Fuji tech support, and got a sense of what feature requests were more common than others. The LUT feature was one, but they say it may be difficult, due to buffer concerns, ...”but not impossible”.
He said about most things it comes down to how many people/customers request a feature.
Talking with the Fuji tech support, and got a sense of what feature requests were more common than others. The LUT feature was one, but they say it may be difficult, due to buffer concerns, ...”but not impossible”.
He said about most things it comes down to how many people/customers request a feature.
G
Guest
Guest
Haha! I was just recommending the X-T3 to @Quickhittecord.
Fringer EF-FX Pro II and Canon CN-E18-80mm T4.4 L IS KAS S compatibility
Fringer EF-FX Pro II and Canon CN-E18-80mm T4.4 L IS KAS S compatibility
Will Canon CN-E18-80mm T4.4 L IS KAS S and Canon CN-E70-200mm T4.4 L IS compact servo lenses work on Fujifilm X-T3 using Fringer EF-FX Pro II adapter?
Did anyone tried it?
Canon doesn't want to enable this lenses to be used on their own DSLR/M cameras. It would be fun to see it working on X-T3.
It could then be interesting combination for events.
Lenses have power provided through camera mount and servo control capability for all zoom, focus and iris. It is compatible with broadcast style servo lens controllers and uses optional ZSG-C10 Grip for shoulder mount applications.
Will the camera have all the AF functions and record lens metadata? Probably no peripheral illumination and chromatic aberration corrections...
Fringer EF-FX Pro II and Canon CN-E18-80mm T4.4 L IS KAS S compatibility
Will Canon CN-E18-80mm T4.4 L IS KAS S and Canon CN-E70-200mm T4.4 L IS compact servo lenses work on Fujifilm X-T3 using Fringer EF-FX Pro II adapter?
Did anyone tried it?
Canon doesn't want to enable this lenses to be used on their own DSLR/M cameras. It would be fun to see it working on X-T3.
It could then be interesting combination for events.
Lenses have power provided through camera mount and servo control capability for all zoom, focus and iris. It is compatible with broadcast style servo lens controllers and uses optional ZSG-C10 Grip for shoulder mount applications.
Will the camera have all the AF functions and record lens metadata? Probably no peripheral illumination and chromatic aberration corrections...
Run&Gun
Veteran
The lens can be powered separately, so as long as the lens projects the proper image circle onto the sensor, I don't see why it wouldn't work with the proper adapter. Now AF, who knows...
For absurdities sake a few years ago I put my Canon 17-120 on my 5D4. In 4K crop mode, it covers...
For absurdities sake a few years ago I put my Canon 17-120 on my 5D4. In 4K crop mode, it covers...
Fixed it: "For absurdities sake a few years ago I put my 5D4 on my Canon 17-120".
AF: from studying YT videos, none of the EF to Fuji adapters provide good enough quality for video (stills can work OK). From the same research, Fuji AF is behind Sony and Canon though a firmware update could change that, and it's important to find Fuji lenses that will work with video for AF (where pretty much all Sony and Canon lenses work with video on their respective cameras (Sony by far the best for video: fast & silent)).
G
Guest
Guest
I know nothing about theory.
G
Guest
Guest
I tried the MixPre3 with a Sony A7smkii and it worked. Timecode matched on the counters, and Rec on the mixpre was triggered by HDMI timecode from the Sony. took all of 30seconds to figure out and set up.
Still no luck with the Fuji yet.
Still no luck with the Fuji yet.
G
Guest
Guest
Noticing big differences in the way XT3 footage looks in FCPX vs Davinci Resolve.
In default settings, Davinci makes the footage sharp and contrasty, but the colors look nice, though a bit saturated.
FCPX has a smoother contrast yet the colors a skewing off a bit. If i could get the fcpx gamma/contrast, and Davinci colors...
I’ll mess around with Davinci color management and see what can be done.
In default settings, Davinci makes the footage sharp and contrasty, but the colors look nice, though a bit saturated.
FCPX has a smoother contrast yet the colors a skewing off a bit. If i could get the fcpx gamma/contrast, and Davinci colors...
I’ll mess around with Davinci color management and see what can be done.
And if using PP CC you’d notice yet a third look lol!
Really needs to be a standard that everyone can easily follow, all the way to the monitor with calibration. One would think DaVinci would be most accurate, however first we’d need third party verification. So wild that color and gamma changes with every app, browser, monitor (unless calibrated- even so isn’t perfect yet), and TV.
Apple mobile, laptops, and iMacs come closest to being consistent, though Preview and QuickTime don’t match! VLC provides another look. Guess that’s good for testing haha.
puredrifting
Major Contributor
Not to completely break the flow of post talk in this thread but I thought I would file an informal user report.
We just returned from Florida where we used two Fujifilm XT-3s, along with several Go Pros and a few Drones to cover one of our documentary
subjects, Aimee Spector, running a 100 mile Ultra Marathon www.keys100.com
The shoot was everything that typical documentary coverage is these days, rushed, hurried, crazy logistics, heat, sun, pounding rain, wind and hour after
hour of coverage to cover Aimee's race. Small crew of four for our video team, me and my co-producers were the camera ops, sound mixers, occasional gaffer,
we had a Drone op who not only shot Drone footage, but also still photography and drove our B-team around, gathering b-roll all of the way from Key Largo
to Key West over the 22 hours it took Aimee to run, jog, walk and limp the hundred miles. If you've never been in or around an Ultra Marathon, it's less a race
and more of a contest to see who can stand the physical torture with the least ill effect, that's who "wins". As an ex high school cross country runner who has never
ran more than a marathon, I was in awe of Aimee's achievement, it's like running four marathons back to back. In the shot above in Islamorada, we are at about the 50 mile point
and the temps are hovering around 95 with humidity of about 90%.
I was in the support van for a total of 30 hours with no sleep. I used the XT-3 both in a full SmallRig cage with the battery grip, cable clamp, a Cinevate 1/4" 20 to 1/4" 20 ball head,
the Atomos Shinobi SDI monitor, Atom X sun shade, and the Røde Video Micro for ambient sound. For the handheld, I most used the Fringer Pro adapter with the Canon EF S 10-18mm f/4.5-5.6 IS STM
lens. About halfway through the first day, I switched to mounting the XT-3 to the Crane 2 gimbal with the same monitor and mic but I switched to the Fujinon XF 16mm f/1.4 WR lens since the race begins
in a dark parking lot at 5:30 am.
I liked the way that the 16mm was looking so much that I kept it on the camera for the entire rest of the race. That lens is sharp, crisp and detailed, more so than the Canon
and the speed came in handy as I would constantly have to hop out of the van to run with Aimee a bit, following her in and out of the checkpoints, then back in the van to shoot the support crew doing timing
and pace calculations, and talking about timing and logistics to get us to the next stop in time. I would pop the Breakthrough Photography ND6 filter off the lens to shoot in the van interior, which was actually pretty
low light as we had ND'd the back windows so that we could occasionally see out of the windows as we drove. Then I'd have to hop out and quickly screw the ND back on.
Our B-roll unit was also shooting an XT-3, some handheld and some tripod utilizing the XF 18-135 f/3.5-5.6 OIS lens and the same Breakthrough Photography ND 3, 6 and 10 NDs. Both cameras shot F-Log the entire
shoot. For the gimbal and handheld setup, I really enjoyed using the Atomos Shinobi SDI. The hood made all of the difference in making the monitor usable in the Florida sun and the visible waveform was a lifesaver
for setting correct exposure. My partner didn't have a monitor and just relied on the XT-3 screen and histogram and most of his footage is correctly exposed but some of it is overexposed but salvagable.
Tip One: Histograms suck for video and are not a very good indication of what you are getting video exposure-wise, Get a monitor with the XT-3 and we need to keep petitioning Fuji to add a waveform and a REC 709 view while shooting F-Log while recording function
Tip Two: If you've been on the fence about getting the Shinobi for your XT-3, dive in, just make sure you get the massively overpriced ($90.00!!) sunshade. It is small enough to stay out the way, even on a gimbal but large enough to make a huge difference in how the screen looks. I had zero issues seeing what i was doing.
I had been considering the PortKeys BM5, which according to Erik Naso, is an excellent 2,000 nit monitor for the same price, but it wasn't shipping in time for our shoot and the Shinobi only weighs 7 ounces versus over 12 ounces for the BM5.
We ran four of the Tascam DR-10Ls, even putting them on Aimee's hydration packs so we could capture some ambient of her running with the traffic sounds, waves crashing when she was running next to the water, etc. One of the Tascams was caught in a massive cloudburst and came back to the van soaked but neither the
Tascam or the OST 801 mic shorted or had water damage. I was holding my breath when it came back, it was wet but still recording. Amazing, considering neither the Tascam or the OST are advertised or thought of as waterproof. A couple of the support crew wouldn't let me put the Tascams on them but I was able to place a
mic on the dash of the support van so I still captured usable audio of conversations and directions being discussed as we drove. It would have been great to have had a real sound mixer on this shoot but there wasn't room in the van and I have rapport built from two years of shooting with this team, throwing another crew
person into the mix in the van wouldn't have worked, there wasn't physically enough room either. We brought a boom and Zoom recorder but we never used it as all of our interviews were mainly shot in the fly, running, walking or working around the van.
It was definitely one of the more physically challenging shoots I've done since I was in the Sahara a couple of years ago for Prison Break S5. We captured some incredible human drama. Pain, stress, sleep deprivation, elation, joy, it was an incredible experience and just goes into the books
on why I prefer this type of filmmaking over almost every other type of filmmaking I've worked on over the years. We truly were part of Aimee's crew and were accepted by her support crew as important to the process, which is always nice.
BTW, even though she is a top athlete and trained her brains out, it was Aimee's first Ultra Marathon. She finished number one woman in her age group 45-49, 9th woman overall and 21st runner overall out of field of 189 runners. She really showed what can be accomplished by sheer force of will and perseverance. The Fujifilm XT-3 proved to be an exemplary tool
for this sort of challenging situation, I was very impressed with how well it performed under tough circumstances.
We just returned from Florida where we used two Fujifilm XT-3s, along with several Go Pros and a few Drones to cover one of our documentary
subjects, Aimee Spector, running a 100 mile Ultra Marathon www.keys100.com
The shoot was everything that typical documentary coverage is these days, rushed, hurried, crazy logistics, heat, sun, pounding rain, wind and hour after
hour of coverage to cover Aimee's race. Small crew of four for our video team, me and my co-producers were the camera ops, sound mixers, occasional gaffer,
we had a Drone op who not only shot Drone footage, but also still photography and drove our B-team around, gathering b-roll all of the way from Key Largo
to Key West over the 22 hours it took Aimee to run, jog, walk and limp the hundred miles. If you've never been in or around an Ultra Marathon, it's less a race
and more of a contest to see who can stand the physical torture with the least ill effect, that's who "wins". As an ex high school cross country runner who has never
ran more than a marathon, I was in awe of Aimee's achievement, it's like running four marathons back to back. In the shot above in Islamorada, we are at about the 50 mile point
and the temps are hovering around 95 with humidity of about 90%.
I was in the support van for a total of 30 hours with no sleep. I used the XT-3 both in a full SmallRig cage with the battery grip, cable clamp, a Cinevate 1/4" 20 to 1/4" 20 ball head,
the Atomos Shinobi SDI monitor, Atom X sun shade, and the Røde Video Micro for ambient sound. For the handheld, I most used the Fringer Pro adapter with the Canon EF S 10-18mm f/4.5-5.6 IS STM
lens. About halfway through the first day, I switched to mounting the XT-3 to the Crane 2 gimbal with the same monitor and mic but I switched to the Fujinon XF 16mm f/1.4 WR lens since the race begins
in a dark parking lot at 5:30 am.
I liked the way that the 16mm was looking so much that I kept it on the camera for the entire rest of the race. That lens is sharp, crisp and detailed, more so than the Canon
and the speed came in handy as I would constantly have to hop out of the van to run with Aimee a bit, following her in and out of the checkpoints, then back in the van to shoot the support crew doing timing
and pace calculations, and talking about timing and logistics to get us to the next stop in time. I would pop the Breakthrough Photography ND6 filter off the lens to shoot in the van interior, which was actually pretty
low light as we had ND'd the back windows so that we could occasionally see out of the windows as we drove. Then I'd have to hop out and quickly screw the ND back on.
Our B-roll unit was also shooting an XT-3, some handheld and some tripod utilizing the XF 18-135 f/3.5-5.6 OIS lens and the same Breakthrough Photography ND 3, 6 and 10 NDs. Both cameras shot F-Log the entire
shoot. For the gimbal and handheld setup, I really enjoyed using the Atomos Shinobi SDI. The hood made all of the difference in making the monitor usable in the Florida sun and the visible waveform was a lifesaver
for setting correct exposure. My partner didn't have a monitor and just relied on the XT-3 screen and histogram and most of his footage is correctly exposed but some of it is overexposed but salvagable.
Tip One: Histograms suck for video and are not a very good indication of what you are getting video exposure-wise, Get a monitor with the XT-3 and we need to keep petitioning Fuji to add a waveform and a REC 709 view while shooting F-Log while recording function
Tip Two: If you've been on the fence about getting the Shinobi for your XT-3, dive in, just make sure you get the massively overpriced ($90.00!!) sunshade. It is small enough to stay out the way, even on a gimbal but large enough to make a huge difference in how the screen looks. I had zero issues seeing what i was doing.
I had been considering the PortKeys BM5, which according to Erik Naso, is an excellent 2,000 nit monitor for the same price, but it wasn't shipping in time for our shoot and the Shinobi only weighs 7 ounces versus over 12 ounces for the BM5.
We ran four of the Tascam DR-10Ls, even putting them on Aimee's hydration packs so we could capture some ambient of her running with the traffic sounds, waves crashing when she was running next to the water, etc. One of the Tascams was caught in a massive cloudburst and came back to the van soaked but neither the
Tascam or the OST 801 mic shorted or had water damage. I was holding my breath when it came back, it was wet but still recording. Amazing, considering neither the Tascam or the OST are advertised or thought of as waterproof. A couple of the support crew wouldn't let me put the Tascams on them but I was able to place a
mic on the dash of the support van so I still captured usable audio of conversations and directions being discussed as we drove. It would have been great to have had a real sound mixer on this shoot but there wasn't room in the van and I have rapport built from two years of shooting with this team, throwing another crew
person into the mix in the van wouldn't have worked, there wasn't physically enough room either. We brought a boom and Zoom recorder but we never used it as all of our interviews were mainly shot in the fly, running, walking or working around the van.
It was definitely one of the more physically challenging shoots I've done since I was in the Sahara a couple of years ago for Prison Break S5. We captured some incredible human drama. Pain, stress, sleep deprivation, elation, joy, it was an incredible experience and just goes into the books
on why I prefer this type of filmmaking over almost every other type of filmmaking I've worked on over the years. We truly were part of Aimee's crew and were accepted by her support crew as important to the process, which is always nice.
BTW, even though she is a top athlete and trained her brains out, it was Aimee's first Ultra Marathon. She finished number one woman in her age group 45-49, 9th woman overall and 21st runner overall out of field of 189 runners. She really showed what can be accomplished by sheer force of will and perseverance. The Fujifilm XT-3 proved to be an exemplary tool
for this sort of challenging situation, I was very impressed with how well it performed under tough circumstances.
G
Guest
Guest
Really appreciate you sharing this experience!
scorsesefan
Veteran
Good to hear the x-t3 withstood the test, Dan...