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  1. [ WANT TO BUY ] Bolex d16 only in EU

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  2. [FS] Freeflly Movi M10

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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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    • Thanks for the detailed reply. I suspect the C200 also bakes in white balance, but could be wrong. Weird things happen when you change white balance while rolling.
    • It reconstructs data in clipped channels from non-clipped channels. i.e Will do nothing if all channels are clipped. And the reconstructed data is generally absent of colour information since it's not known what was missing in the clipped data, and just heads to the white point. I'm not sure what's available with the C200 rawlite files as I'm not in the Resolve team so my "inside" knowledge only surrounds our cameras and what we provide to the Resolve team (Blackmagic RAW is developed in the camera team). I do know for instance though the C300 mk2 raw output over SDI has white balance information "baked in", which means all 3 channels are clipped (to avoid non-white highlights) so highlight recovery would not be possible on such data.
    • Always good info from Captain Hook. An asset to this forum.
    • That's good to know. Regardless, +5.5 at base is very competitive. Similar to the 4.6k, no?  I believe Foveon sensors have a non-linear rolloff, but point taken. I think the complicating factor is with A7S SLOG2 or something you have chroma clipping and sharpening that can muddy up the highlights in a way where they're difficult to recover aesthetically because the channel data is clipped in raster even if the signal wasn't in raw: https://www.liftgammagain.com/forum/index.php?threads/the-dreaded-clipped-channels-on-sony-blue-footage.9970/ But I suppose this isn't an issue with Red, Alexa, Black Magic, etc. whether in raw or ProRes. That said, there must also be something to the highlight recovery algorithm? I do wish Black Magic would implement this for cameras other than its own. My C200 raw footage could benefit from it for sure based on how effective it seems to be with 4.6k footage, but maybe that's not possible. Just bought a Resolve license so you're getting my money either way.
    • There was no change in "highlights" to our log curves or otherwise. The previous manual dynamic range chart was incorrect, and was corrected. There is also no inherent "highlight rolloff" in digital cameras from the sensor. They are all (mostly) linear capture devices. Same with Alexa, Red, etc. When they all clip in linear, they all clip suddenly/harshly. All of them.  "Highlight rolloff" is really about total dynamic range, how you expose, and curves (which you can manipulate yourself). Our log curves are optimized to store data in 10bit SDI and video files so the highlight roll off in our existing log curves is merely a function of optimising the dynamic range to fit in this data range with relation to the "native sensitivity" and desired ISO. The more dynamic range the sensor has the more highlights will roll off in the log curves, the same with Alexa/Red/etc. You want to use your own curves after in grading to create the roll off you want. Expose the sensor so middle grey is lower and leave more dynamic range in the highlights, and you can create a very nice gradual highlight rolloff in grading - with mostly any modern digital camera. But it's pretty much all down to total dynamic range, exposure, and curves.
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