I’m currently working a lot as a colorist with Fujifilm XT3 materials shot in Flog and mixed with footage from sony FS7 and DJI drones in DLog.
I’m working in ACES with resolve and don’t know if there is any IDT or other ACES DTCL for the Flog From the Fujifilm XT3.
Someone has a trick to simplify the workflow and stay in ACES (don’t want to work in YRGB for this) ??
Thank you in advance.
Welcome! Thanks for your first post!
As per usual I would point you towards the Colour-Science definition of FLog ( https://github.com/colour-science/colour/blob/57947e49ac43e8832ec8c28b8db2ff3fc3f726f2/colour/models/rgb/transfer_functions/fujifilm_flog.py)
I would hope you have some knowledge in Python as they don’t exist in the present OCIO 1.1 config either…
I’m not familiar enough with FujiFilm’s colour transforms since we don’t see it much in large-production cinema so I can’t guide much further. Apart from don’t give up on ACES, despite it not serving the cutting-edge of every modern camera’s Log-specification it will greatly help you in the long run
Funnily enough, I have only recently been asked about a DCTL IDT for F-Log / F-Gamut by somebody else. I was about to add one to my web store. If you want to buy it for the same $30 I sell the others for, contact me directly.
Hi Guys, sorry to give an answer so late.
Thanky ou to all for the inputs.
When doing some research on XT3 output problems regarding the Atomos Ninja V I found a video frrom Atilla Baktos (if I remember well) who creates DCTL for FLog.
I’ve bought it and can tell that it worked pretty wel on a project that I’m currently grading in ACES.
The other camera used fo this project is the Kinefinity Mavo LF and I do not have real IDT for it (a lot of people say that it is ok to use Arri Alexa’s IDT for Mavo LF footage).
I would like to know what people on this forum think abbout the work Atilla did for the Flog ?
Let me know,