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RAW SHOOTING CAMERAS

ALL THINGS RAW! Cameras including Blackmagic and codecs like ProRes RAW and BRAW. Accessories like external recorders and workflows including raw compatible NLEs.

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color 3.0 for Sony cameras
EOSHD Pro LOG for Sony cameras
EOSHD 5D Mark III 3.5K RAW Shooter's Guide


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    • Curious to know what you think of 10 bit Nlog other than the flickering issue? Do you think its worth getting this setup over the S1 or even the XT3.
    • Ah! The Rosemary's Baby reference makes more sense with that explanation. I'm not offering a criticism and saying the subtext should be made so obvious. I'm just making conversation. I've only watched it once and didn't analyze it too deeply. I thought it looked great! Can I ask which shots were the BMPCC6K?
    • Just saw this review. Thanks! Gorgeous color! And happy to see Super 16-style given a boost. There are probably equally good deals with new gear such as the Olympus you review, but I much appreciate Canon's color science, even if they are fuddy-duddy with pushing their tech to where it should be...
    • No hack if the camera doesn't have playmemories, they plugged the hole after that.
    • FYI if you interpret a (non Blackmagic Design) DNG in Resolve as "BMD Film" this will be Gen 1 which means for gamut there is NO transform - you are getting the sensor spectral response to colour which is not represented by 3 primaries like most gamuts and can't be treated as such. That would mean to "accurately" convert to Rec709 you would need the spectral response data for the sensor in the camera to calculate the transform to Rec709 for an illuminants given colour temperature, or by shooting known targets under various illuminants and doing a regression fit from there. It means multiple transforms depending on your white balance. The 709 gamut option in Resolve for DNGs is using the 2 colour matrices and "AsShotNeutral" tags (for white balance/tint) provided in the DNG metadata which have been calculated by the manufacturer (using one or both the methods described above) to provide a transform to XYZ for the given white balance (the matrices are actually used to transform from XYZ to sensor space but you can invert that) and from XYZ a standard conversion to 709 is performed. The ACES pipeline in Resolve also uses the same matrices in the DNG to convert to XYZ and then to ACES primaries. Of course many people just graded BMCC/Pocket footage with Gen 1 by hand and were also pleased with the result, but one should not expect the sensor response to appear in a meaningful way on a typical display without some kind of transform (calculated or done manually). But this is mostly to say if someone created a LUT or otherwise for BMCC/Pocket Gen 1 DNG footage, it will not be "correct" for other cameras (it may coincidentally look okay but that may also be scene specific). And most importantly for our cameras our others, if grading or creating a LUT etc for footage left in sensor space you need to adjust the correction/transform for illuminants with different colour temperatures. I.e Something done for footage shot under daylight will not usually work well for something shot under tungsten. If you use the Rec709 gamut option, you could use the CST OFX plugin to transform to another gamut safely as the RAW decode and CST plugin will not clip data and the white balance specific response has been already taken care of (the way the manufacturer wants done) in the transform to 709. This is the workflow I would recommend with such footage. YMMV.
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