I’ve consolidated the pack to just the conversion + creative LUTs, try the other link

Great idea, if you’re used to color managed workflows I don’t see a reason to upgrade yet

No, you’ll want to look into a NAS for that. This is a DAS (direct attached storage)

@@EvanSchneider thank you!

What are your video settings?

Thanks for the insight! The 16mm is now my favorite of the set, I have it as well. Great little lens. And totally agree about the gears.

Thanks so much! If you want to keep the same aspect ratio, you can set your timeline resolution to Custom and match the footage resolution of 6240x4160. However, if you upload this resolution to KZbin, it will encode it as a 4K source and not a 6K source. So that's why I wrapped my footage in an 8K 16x9 container for upload so that KZbin processes it in 8K and it only requires a 5-10% upscale in Resolve for me. Hope that helps.

Thank you! 🍻

NAS stands for Network Attached Storage, compared to a DAS which stands for Direct Attached Storage. They can both be configured in a RAID array, which means you are using a set of separate physical drives combined into one logical drive that your computer recognizes as a single volume. UGREEN is just a brand.

Thank you so much!

Essentially yes, just using a different tool to make the matte.

Yup still using it! I’ve added on some stuff but the main parts are still great

Definitely, in short, speed ramps, do not translate, so you either have to rebuild them in Resolve or export them as a ProRes from Premier. For frame rates, do not use interpret footage in Premiere, always use a speed change to slow down or speed up footage shot in a different frame rate. I definitely want to make a video about this in the future.

Thanks for the purchase, glad you like them! I shot the talking head on the A7S III and I believe I used a Sigma Art 30mm Sony E-Mount.

@ thanks

Thanks so much, stoked to hear you like them!

I haven’t experimented with DWG as an input, I’ll have to try that out. When playing around with it I didn’t mind how Arri WG4 looked, especially in the skin tones.

Similar to D-LogM, I would treat it a similar way. It’s basically just a Rec .709 profile with a little more contrast than D-LogM, so adjustments will have to be pretty minimal.

Absolutely, enjoy!

Great question, there are many tools out there, LUTs being one of them. There’s nothing wrong with using LUTs. I think what colorists are getting at sometimes is that LUTs aren’t a be-all end-all solution to getting a good looking grade. It takes practice, proper LUTs, and an understanding of color. So for them, to say, “don’t use LUTs” is to say “do it manually and you’ll learn so much more”. Unfortunately, oftentimes the delivery of this message is done in a shaming way and not an encouraging one. It also wrongly teaches beginners to think they can never use LUTs or else they’re “cheating”. The top priority of any colorist is to make it look good, so if using LUTs gets you there, then you’re good to go.

Yes they are compatible with CapCut

Yes, you would perform the adjustments before the conversion LUT, but I recommend making those adjustments viewing it through the LUT. So apply the LUT first, then make the adjustments before the LUT in the pipeline if that makes sense.

The main sensor is exactly the same

It shares the same log gamma as F-Log2, hence the “C” signifying an updated color space. So F-Log3 would actually be more confusing.

@EvanSchneider that's not how customers read and remember things, as a big company they should understand it, look at sony and canon, look at arri, logC3, logC4, Clog, Clog2, Clog3, Slog, Slog2, Slog3, if there's an update to anything inside that gamma, they should increase the number.....

That’s what I’m saying, there was no update to the gamma. Think of it as a variation of F-Log2, hence the “C”. I actually think it’s helpful as none of the other manufacturers denote a color space within the log encoding name. F-Log3 would be more misleading because the gamma is the exact same as F-Log2.

@@EvanSchneider no, it is actually my point, they should discontinue the old flog 2 and just name it exactly the same without C, or just name it flog 3....why keep the old color space if they know this one is better, fuji loves to overcomplicate stuff and still do

You're welcome, glad it was helpful!

Thanks for mentioning, glad this is an option for now

Not right now, they are meant for SDR

Thanks so much! Glad to hear

Nice! Hope the shoot went well!

Absolutely

Totally, which is a result of the larger color space of F-Gamut C! I’m a big fan

Thanks! Yeah it’s a great log profile now!

@ it’s really is. I’m definitely impressed with Fujifilm for the new profile.

Absolutely! Thanks for the support!