Capture One Pro 8 Film Simulations
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The backslashes you are referring are just symbols denoting path. Once you import into these LUTS into Davinci Resolve those backslashes are removed by default and you only see is the true file name which has no backslashes. Convince yourself of this by opening the LUT folder from the Davinci Resolve Project Settings. Do you see any backslashes in those LUT names? Of course not. The only name you see is the one that has the underscores and the periods. These LUTS work as designed without having to change any path names. However, they need to be set up properly through CSTs and by what is supported in Davinci Resolve. Hence, the FLog2C film simulation LUTS cannot be used because Davinci Resolve does not support Fuji Gamut color space and the FLog2C gamut. Alternatively, Davinci Resolve does support Flog2 film simulation LUTS because the color space for FLog2 is Rec 2020 and there is an FLog2 gamut. If all you are doing is changing the path names then you are not getting the correct results. -
By PoorAlchemist · Posted
I found the reddit topic i refere to : https://www.reddit.com/r/davinciresolve/comments/1pc3f1e/cant_apply_new_fujifilm_gfx_55_lut/ "Update for y'all, It's just like what @ExpBalSat said, it's because of the backslashes in the names break them. I changed the file name and it works now. " For me it was the solution. Realy annoying if it doesn’t work for you 😕 -
Here is the solution to using the Eterna 55 file simulation LUTs in Davinci Resolve. In general, do not use the FLog2C to film simulation LUTs as they are not supported by Davinci Resolve for two reasons: 1) Davinci Resolve does not support Fuji Gamut Color Space and 2) Davinci Resolve does not support FLog2C gamma. Instead, use Flog2 which is supported by Davinci Resolve. Here is an example. Let's say that you want to use Classic Chrome simulation. Do the following: Complete your color grade and use a CST to get to Rec 709. Add a node. Use a CST to convert from Rec 709 to FLog2. Output Color space is Rec 2020 and Outout Gamut is FLog2. Add a node. Apply the FLog2 to Classic Chrome LUT Create a combination node from node in steps 2 and 3. Apply a Key to the combination node and adjust the Key Output Gain to get the amount of the combination node that you want applied. So that you do not have to do this over and over again, generate a LUT for the combination node. Remember to turn off all other nodes before generating the LUT. Hope this helps others. Don
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By crazyfields · Posted
Thanks for the insights. I think it's really hard to make a decision without having the two side by side! -
I don’t have the 23 f2 but I have read several times that it is considered a little soft at close distance, compared to the 23 f1.4 lenses. These will also focus at shorter distance from the subject, esp. the new one. So that might make a difference. The new 23 f1.4 LM WR has better resolution, esp. in regard to the 40Mpix sensors, which you don’t have on the X-T2. What practical difference that makes for the value of the pictures one makes is disputable and subjective. f1.4 will gather more light but with a smaller DOF, which may be desirable in some situations but not so in others, depends. If you like to shoot close ups, you will probably use higher f numbers to get a bigger DOF. Same for landscapes. If you are a bokeh fan, yes the f1.4 lens are better. The older 23 f1.4 lens that you are considering is a very good and respected lens. The f1.4 vs f2 aperture per se is perhaps not so important. The 23 f2 is very small, light and practical and a great lens for travel and landscapes. So, go figure. I am afraid I just sent you further down the road to insanity !
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