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BMMCC still has the magic in it, so definitely worth getting to know it and how to get the best of it. I always shoot Prores on it, rather than RAW, but my node tree was: 1) CST from BM Film Gen 1 to Davinci Intermediate 2) Grade in Log space 3) CST from Davinci Intermediate to rec709-A The default colour science is quite film-like and has a pretty heavy "look" already in it, but it's worth experimenting with different processes to see what you like. As I'd imagine you're shooting RAW, you'll also be using the RAW panel which I can't give advice on, except try different things and see what you like. There are "correct" colour spaces etc, but in colour, if it looks good then it is good, so just try stuff and see what you can find. Maybe @mercer can give some advice on making the BM really sing? -
Definitely agree.. especially considering that if you really want to push the image around, you can convert it to LOG and make changes and then convert it back again.
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I'm at a point where I ALMOST see no point in shooting log profiles. There are a few good ones, but most require more grading after a utility LUT is applied and/or creates scenarios where everybody's footage looks pretty much exactly the same. So if you're just slapping on a LUT and calling it a day, for 9 out of 10 shots, you could just use a standard rec709 picture profile and get similar results. With the advent of 10bit video, in recent years, most standard picture profiles look even better than they ever have with thicker color and near perfect skintones. Sure there are instances when you may need the extra stop or two of dynamic range a Log profile offers, or a specific LUT gets you a relatively quick look by shooting Log, but again... 9 out of 10 times, a slightly tweaked Rec709 picture profile will end up looking better and get you there so much easier without worrying about CSTs and color pipelines... especially since damn near ever Log profile is just trying to emulate Arri LogC which in turn was designed to emulate film. Speaking of, I have the Arri LogC3 software key on my GH6 and it's pretty good... better than vLog but it's still noisy as hell with ugly chroma noise in the midtones and shadows so I recently went back to CineLikeD and V and I am back to making a couple contrast and saturation adjustments and being happy with it. I'm sure there is a slight hit in DR, but nothing so drastic that I'm surprised or wish I shot in Log instead. So Log is cool, I'm glad it's available, but it's fairly unnecessary in most situations and can cause a bigger headache. -
No idea about y'all but, the more I find the more I see it as a no-brainer purchase, no other way, plus stabilization to say the least : ) https://www.stufftaiwan.com/2026/10/08/vivo-x500-pro-max＋400mm增距鏡周杰倫演唱會實測，解鎖4k動態照片/ And the guy or gal or whoever is behind the cam shoots bad as hell... However, with current and proper AI (am I Mr. Trump's enemy from now on? LOL) techniques, I'm pretty sure we can all get incredible results out of it, external SSD and all ;- )
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