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    • I also get where you are coming from and that is why I bake the LUT into my footage. I set up all my cameras with 3 basic profiles based on ISO and WB for outdoor, indoor and low-lowlight scenarios. I say LUT, but there are actually 2x LUTS stacked; the conversion LUT and then my own custom ‘Look LUT’ which can be dialled in anywhere between 10-100%. It gets the look I want SOOC and it’s as unique to me as these things can be, is easy in the workflow and allows me to concentrate more on the interesting side of editing a film rather than the boring to me, more logistical grading. Only really works if no one else has a say in the end result and I’m fortunate that I’m my work, the grade is 100% my call.
    • Probably not. I had a love hate relationship with that camera. I think I owned 3 of them, and the best I got out of it was on the first day I shot with it... it was all downhill from there. 
    • 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.
    • Love your insights, you should post more :- )
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