Juan Melara

Yeah you're correct, but I already had a library of those charts from various sensors and stocks, so it made sense to keep adding to it. Plus it's also actually quite helpful to have so many samples within the colour space, rather than just a few samples right at the edges.
Thanks mate! Much appreciated.
 
Another interesting thing I found in testing is how much dynamic range the P6K actually has. According to the charts published by BMD and ARRI, when both cameras are exposed at ISO800, the Alexa has 1 stop extra range in the highlights, but approximately the same amount of stops in the shadows. In testing I found this to be pretty much spot on. I found I could expose one of the charts exactly one stop higher on the Alexa before it touched the clip point.
The interesting thing is how that actually translates in real world scenarios, and what that difference looks like.
Here are some crops of a scene shot on both cameras. In LogC, so the differences are visible. I matched exposure on the day using false colour, they're as close as I could get them. Probably less than 1/20th of a stop of difference in exposure.

The left image is the P6K. When comparing it to the Alexa image in the middle, thats exactly what 1 stop difference in the highlights looks like in a real world situation.
It's interesting to see what happens to that 1 stop difference when highlight recovery is enabled – the P6K actually retains more highlight detail.
Obviously you would never actually place important image information in that range (not that you would ever do that with the Alexa either). But if you need it create a smoother roll-off in anything neutral in colour like specular highlights, clouds etc, it is possible to outperform the Alexa in highlight dynamic range... sometimes.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Yeah you're correct, but I already had a library of those charts from various sensors and stocks, so it made sense to keep adding to it. Plus it's also actually quite helpful to have so many samples within the colour space, rather than just a few samples right at the edges.
Thanks mate! Much appreciated.
 
Another interesting thing I found in testing is how much dynamic range the P6K actually has. According to the charts published by BMD and ARRI, when both cameras are exposed at ISO800, the Alexa has 1 stop extra range in the highlights, but approximately the same amount of stops in the shadows. In testing I found this to be pretty much spot on. I found I could expose one of the charts exactly one stop higher on the Alexa before it touched the clip point.
The interesting thing is how that actually translates in real world scenarios, and what that difference looks like.
Here are some crops of a scene shot on both cameras. In LogC, so the differences are visible. I matched exposure on the day using false colour, they're as close as I could get them. Probably less than 1/20th of a stop of difference in exposure.

The left image is the P6K. When comparing it to the Alexa image in the middle, thats exactly what 1 stop difference in the highlights looks like in a real world situation.
It's interesting to see what happens to that 1 stop difference when highlight recovery is enabled – the P6K actually retains more highlight detail.
Obviously you would never actually place important image information in that range (not that you would ever do that with the Alexa either). But if you need it create a smoother roll-off in anything neutral in colour like specular highlights, clouds etc, it is possible to outperform the Alexa in highlight dynamic range... sometimes.

Yeah you're correct, but I already had a library of those charts from various sensors and stocks, so it made sense to keep adding to it. Plus it's also actually quite helpful to have so many samples within the colour space, rather than just a few samples right at the edges.
Thanks mate! Much appreciated.
 
Another interesting thing I found in testing is how much dynamic range the P6K actually has. According to the charts published by BMD and ARRI, when both cameras are exposed at ISO800, the Alexa has 1 stop extra range in the highlights, but approximately the same amount of stops in the shadows. In testing I found this to be pretty much spot on. I found I could expose one of the charts exactly one stop higher on the Alexa before it touched the clip point.
The interesting thing is how that actually translates in real world scenarios, and what that difference looks like.
Here are some crops of a scene shot on both cameras. In LogC, so the differences are visible. I matched exposure on the day using false colour, they're as close as I could get them. Probably less than 1/20th of a stop of difference in exposure.

The left image is the P6K. When comparing it to the Alexa image in the middle, thats exactly what 1 stop difference in the highlights looks like in a real world situation.
It's interesting to see what happens to that 1 stop difference when highlight recovery is enabled – the P6K actually retains more highlight detail.
Obviously you would never actually place important image information in that range (not that you would ever do that with the Alexa either). But if you need it create a smoother roll-off in anything neutral in colour like specular highlights, clouds etc, it is possible to outperform the Alexa in highlight dynamic range... sometimes.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hey all,
I've just finished up a new grading tutorial especially for any of you shooting CinemaDNGs. It actually works with any CinemaDNG, not just limited to Blackmagic cameras.
In the tutorial I show you how get access to the full dynamic range, richer colours throughout the full range, and all in a curve thats a lot nicer to grade than BMD Film.

Feel free to leave any feedback or questions and I'll do my best to help you out!
 

How many of you guys have actually rigged up and used an Alexa in single operator mode? It actually works really really well.
Everything I see online points to how its a crew camera, not made for single op use, you NEED a 1st and 2nd AC etc. This usually comes from people who have either only shot it this way, or it's repeated by people who have not even shot with it.
There is nothing unique to the Alexa that makes it require a crew any more than any other camera. In fact, because of how ridiculously simple it is to use and it's great ergonomics, it's more single op friendly than a lot of other camera's I've used.
The trick is setting it up to make it single op friendly.


This is the basic setup for a shoot I DP'd last week. 6 hours, 5 locations, all shot shoulder mount (obviously missing the front handgrips, motor controller/cables and shoulder pad).
Focus is through an RT Motion 3.1 setup, controlled from the thumbwheel mounted on the right handgrip. The thumbwheel also has run/stop control. The EVF is setup with focus peaking, which works really well. Out of the 100 or so takes I did, only 2 were not usable due to buzzed focus.
I'm using EF Zeiss Milvus lenses which only have electronic iris control. Iris is controlled on the operator side directly on the Optitek EF lens mount - super easy.
The setup is powered by IDX 185wh batteries. Each battery powers the entire setup for just over 2h. They weigh 50g less than Anton Bauer's 90wh batteries and half a kilo less than their 190wh batteries. Power for the Optitek mount is drawn directly from a ribbon cable inside the mount, so no external cables. Power for the RT motion setup is drawn from Alexa's 12v output on the operator side, so no DTAP cables running back to the battery - super clean. This makes switching batteries fast and easy as there are no DTAP cables to switch over. I've got a hot swap battery mount arriving next week, so there will be no need to power down.
I'm using screw-on Firecrest ND filters which are completely neutral even at higher strengths, so no need to touch white balance or tint as I increase or decrease ND.
In the EVF I have control of FPS, shutter speed and white balance/tint all controlled via buttons on the EVF, all without removing your eye. The buttons on the operator side below the Alexa logo are user configurable. At the moment they trigger the Rec709 LUT on and off, false colour and fullscreen view inside the EVF. No need to take the camera off your shoulder... Once you setup your project and format your cards on the operator side at the start of the day, there is no need to return to that side as the important functions are all available inside the EVF.
I load in 2 x 128gb SxS cards at the start of the day, which record around 2h of Prores 4444. So theres usually no need to swap them out during the shoot. 
From here I'm adding a Movcam MM4 lightweight mattebox. It has Arri rosettes on each side which allow you to attach handgrips directly onto the mattebox. This will shave some weight and further streamline the setup as I no longer need the BP-12 bridge plate, 19mm rods and the handle bridge. Still unsure if 15mm rods are too lightweight for this task, we'll see... I need a new mattebox anyway.
I'm also going to add 2 Dynacore 310wh batteries which will power the setup for around 3.5h each. And they're still 200g lighter than AB's 190wh batteries.
Is it as nimble as an A7 or GH5 setup? No. But from my experience, when shooting Alexa shoulder mount I'm moving just as quick as someone shooting mirrorless. Except if I've done my job right on the day, I can then grade that footage to match pretty much any feature shot on the Alexa. I can't really do that with mirrorless cam footage...
 

How many of you guys have actually rigged up and used an Alexa in single operator mode? It actually works really really well.
Everything I see online points to how its a crew camera, not made for single op use, you NEED a 1st and 2nd AC etc. This usually comes from people who have either only shot it this way, or it's repeated by people who have not even shot with it.
There is nothing unique to the Alexa that makes it require a crew any more than any other camera. In fact, because of how ridiculously simple it is to use and it's great ergonomics, it's more single op friendly than a lot of other camera's I've used.
The trick is setting it up to make it single op friendly.


This is the basic setup for a shoot I DP'd last week. 6 hours, 5 locations, all shot shoulder mount (obviously missing the front handgrips, motor controller/cables and shoulder pad).
Focus is through an RT Motion 3.1 setup, controlled from the thumbwheel mounted on the right handgrip. The thumbwheel also has run/stop control. The EVF is setup with focus peaking, which works really well. Out of the 100 or so takes I did, only 2 were not usable due to buzzed focus.
I'm using EF Zeiss Milvus lenses which only have electronic iris control. Iris is controlled on the operator side directly on the Optitek EF lens mount - super easy.
The setup is powered by IDX 185wh batteries. Each battery powers the entire setup for just over 2h. They weigh 50g less than Anton Bauer's 90wh batteries and half a kilo less than their 190wh batteries. Power for the Optitek mount is drawn directly from a ribbon cable inside the mount, so no external cables. Power for the RT motion setup is drawn from Alexa's 12v output on the operator side, so no DTAP cables running back to the battery - super clean. This makes switching batteries fast and easy as there are no DTAP cables to switch over. I've got a hot swap battery mount arriving next week, so there will be no need to power down.
I'm using screw-on Firecrest ND filters which are completely neutral even at higher strengths, so no need to touch white balance or tint as I increase or decrease ND.
In the EVF I have control of FPS, shutter speed and white balance/tint all controlled via buttons on the EVF, all without removing your eye. The buttons on the operator side below the Alexa logo are user configurable. At the moment they trigger the Rec709 LUT on and off, false colour and fullscreen view inside the EVF. No need to take the camera off your shoulder... Once you setup your project and format your cards on the operator side at the start of the day, there is no need to return to that side as the important functions are all available inside the EVF.
I load in 2 x 128gb SxS cards at the start of the day, which record around 2h of Prores 4444. So theres usually no need to swap them out during the shoot. 
From here I'm adding a Movcam MM4 lightweight mattebox. It has Arri rosettes on each side which allow you to attach handgrips directly onto the mattebox. This will shave some weight and further streamline the setup as I no longer need the BP-12 bridge plate, 19mm rods and the handle bridge. Still unsure if 15mm rods are too lightweight for this task, we'll see... I need a new mattebox anyway.
I'm also going to add 2 Dynacore 310wh batteries which will power the setup for around 3.5h each. And they're still 200g lighter than AB's 190wh batteries.
Is it as nimble as an A7 or GH5 setup? No. But from my experience, when shooting Alexa shoulder mount I'm moving just as quick as someone shooting mirrorless. Except if I've done my job right on the day, I can then grade that footage to match pretty much any feature shot on the Alexa. I can't really do that with mirrorless cam footage...
 

How many of you guys have actually rigged up and used an Alexa in single operator mode? It actually works really really well.
Everything I see online points to how its a crew camera, not made for single op use, you NEED a 1st and 2nd AC etc. This usually comes from people who have either only shot it this way, or it's repeated by people who have not even shot with it.
There is nothing unique to the Alexa that makes it require a crew any more than any other camera. In fact, because of how ridiculously simple it is to use and it's great ergonomics, it's more single op friendly than a lot of other camera's I've used.
The trick is setting it up to make it single op friendly.


This is the basic setup for a shoot I DP'd last week. 6 hours, 5 locations, all shot shoulder mount (obviously missing the front handgrips, motor controller/cables and shoulder pad).
Focus is through an RT Motion 3.1 setup, controlled from the thumbwheel mounted on the right handgrip. The thumbwheel also has run/stop control. The EVF is setup with focus peaking, which works really well. Out of the 100 or so takes I did, only 2 were not usable due to buzzed focus.
I'm using EF Zeiss Milvus lenses which only have electronic iris control. Iris is controlled on the operator side directly on the Optitek EF lens mount - super easy.
The setup is powered by IDX 185wh batteries. Each battery powers the entire setup for just over 2h. They weigh 50g less than Anton Bauer's 90wh batteries and half a kilo less than their 190wh batteries. Power for the Optitek mount is drawn directly from a ribbon cable inside the mount, so no external cables. Power for the RT motion setup is drawn from Alexa's 12v output on the operator side, so no DTAP cables running back to the battery - super clean. This makes switching batteries fast and easy as there are no DTAP cables to switch over. I've got a hot swap battery mount arriving next week, so there will be no need to power down.
I'm using screw-on Firecrest ND filters which are completely neutral even at higher strengths, so no need to touch white balance or tint as I increase or decrease ND.
In the EVF I have control of FPS, shutter speed and white balance/tint all controlled via buttons on the EVF, all without removing your eye. The buttons on the operator side below the Alexa logo are user configurable. At the moment they trigger the Rec709 LUT on and off, false colour and fullscreen view inside the EVF. No need to take the camera off your shoulder... Once you setup your project and format your cards on the operator side at the start of the day, there is no need to return to that side as the important functions are all available inside the EVF.
I load in 2 x 128gb SxS cards at the start of the day, which record around 2h of Prores 4444. So theres usually no need to swap them out during the shoot. 
From here I'm adding a Movcam MM4 lightweight mattebox. It has Arri rosettes on each side which allow you to attach handgrips directly onto the mattebox. This will shave some weight and further streamline the setup as I no longer need the BP-12 bridge plate, 19mm rods and the handle bridge. Still unsure if 15mm rods are too lightweight for this task, we'll see... I need a new mattebox anyway.
I'm also going to add 2 Dynacore 310wh batteries which will power the setup for around 3.5h each. And they're still 200g lighter than AB's 190wh batteries.
Is it as nimble as an A7 or GH5 setup? No. But from my experience, when shooting Alexa shoulder mount I'm moving just as quick as someone shooting mirrorless. Except if I've done my job right on the day, I can then grade that footage to match pretty much any feature shot on the Alexa. I can't really do that with mirrorless cam footage...
 

How many of you guys have actually rigged up and used an Alexa in single operator mode? It actually works really really well.
Everything I see online points to how its a crew camera, not made for single op use, you NEED a 1st and 2nd AC etc. This usually comes from people who have either only shot it this way, or it's repeated by people who have not even shot with it.
There is nothing unique to the Alexa that makes it require a crew any more than any other camera. In fact, because of how ridiculously simple it is to use and it's great ergonomics, it's more single op friendly than a lot of other camera's I've used.
The trick is setting it up to make it single op friendly.


This is the basic setup for a shoot I DP'd last week. 6 hours, 5 locations, all shot shoulder mount (obviously missing the front handgrips, motor controller/cables and shoulder pad).
Focus is through an RT Motion 3.1 setup, controlled from the thumbwheel mounted on the right handgrip. The thumbwheel also has run/stop control. The EVF is setup with focus peaking, which works really well. Out of the 100 or so takes I did, only 2 were not usable due to buzzed focus.
I'm using EF Zeiss Milvus lenses which only have electronic iris control. Iris is controlled on the operator side directly on the Optitek EF lens mount - super easy.
The setup is powered by IDX 185wh batteries. Each battery powers the entire setup for just over 2h. They weigh 50g less than Anton Bauer's 90wh batteries and half a kilo less than their 190wh batteries. Power for the Optitek mount is drawn directly from a ribbon cable inside the mount, so no external cables. Power for the RT motion setup is drawn from Alexa's 12v output on the operator side, so no DTAP cables running back to the battery - super clean. This makes switching batteries fast and easy as there are no DTAP cables to switch over. I've got a hot swap battery mount arriving next week, so there will be no need to power down.
I'm using screw-on Firecrest ND filters which are completely neutral even at higher strengths, so no need to touch white balance or tint as I increase or decrease ND.
In the EVF I have control of FPS, shutter speed and white balance/tint all controlled via buttons on the EVF, all without removing your eye. The buttons on the operator side below the Alexa logo are user configurable. At the moment they trigger the Rec709 LUT on and off, false colour and fullscreen view inside the EVF. No need to take the camera off your shoulder... Once you setup your project and format your cards on the operator side at the start of the day, there is no need to return to that side as the important functions are all available inside the EVF.
I load in 2 x 128gb SxS cards at the start of the day, which record around 2h of Prores 4444. So theres usually no need to swap them out during the shoot. 
From here I'm adding a Movcam MM4 lightweight mattebox. It has Arri rosettes on each side which allow you to attach handgrips directly onto the mattebox. This will shave some weight and further streamline the setup as I no longer need the BP-12 bridge plate, 19mm rods and the handle bridge. Still unsure if 15mm rods are too lightweight for this task, we'll see... I need a new mattebox anyway.
I'm also going to add 2 Dynacore 310wh batteries which will power the setup for around 3.5h each. And they're still 200g lighter than AB's 190wh batteries.
Is it as nimble as an A7 or GH5 setup? No. But from my experience, when shooting Alexa shoulder mount I'm moving just as quick as someone shooting mirrorless. Except if I've done my job right on the day, I can then grade that footage to match pretty much any feature shot on the Alexa. I can't really do that with mirrorless cam footage...
 

How many of you guys have actually rigged up and used an Alexa in single operator mode? It actually works really really well.
Everything I see online points to how its a crew camera, not made for single op use, you NEED a 1st and 2nd AC etc. This usually comes from people who have either only shot it this way, or it's repeated by people who have not even shot with it.
There is nothing unique to the Alexa that makes it require a crew any more than any other camera. In fact, because of how ridiculously simple it is to use and it's great ergonomics, it's more single op friendly than a lot of other camera's I've used.
The trick is setting it up to make it single op friendly.


This is the basic setup for a shoot I DP'd last week. 6 hours, 5 locations, all shot shoulder mount (obviously missing the front handgrips, motor controller/cables and shoulder pad).
Focus is through an RT Motion 3.1 setup, controlled from the thumbwheel mounted on the right handgrip. The thumbwheel also has run/stop control. The EVF is setup with focus peaking, which works really well. Out of the 100 or so takes I did, only 2 were not usable due to buzzed focus.
I'm using EF Zeiss Milvus lenses which only have electronic iris control. Iris is controlled on the operator side directly on the Optitek EF lens mount - super easy.
The setup is powered by IDX 185wh batteries. Each battery powers the entire setup for just over 2h. They weigh 50g less than Anton Bauer's 90wh batteries and half a kilo less than their 190wh batteries. Power for the Optitek mount is drawn directly from a ribbon cable inside the mount, so no external cables. Power for the RT motion setup is drawn from Alexa's 12v output on the operator side, so no DTAP cables running back to the battery - super clean. This makes switching batteries fast and easy as there are no DTAP cables to switch over. I've got a hot swap battery mount arriving next week, so there will be no need to power down.
I'm using screw-on Firecrest ND filters which are completely neutral even at higher strengths, so no need to touch white balance or tint as I increase or decrease ND.
In the EVF I have control of FPS, shutter speed and white balance/tint all controlled via buttons on the EVF, all without removing your eye. The buttons on the operator side below the Alexa logo are user configurable. At the moment they trigger the Rec709 LUT on and off, false colour and fullscreen view inside the EVF. No need to take the camera off your shoulder... Once you setup your project and format your cards on the operator side at the start of the day, there is no need to return to that side as the important functions are all available inside the EVF.
I load in 2 x 128gb SxS cards at the start of the day, which record around 2h of Prores 4444. So theres usually no need to swap them out during the shoot. 
From here I'm adding a Movcam MM4 lightweight mattebox. It has Arri rosettes on each side which allow you to attach handgrips directly onto the mattebox. This will shave some weight and further streamline the setup as I no longer need the BP-12 bridge plate, 19mm rods and the handle bridge. Still unsure if 15mm rods are too lightweight for this task, we'll see... I need a new mattebox anyway.
I'm also going to add 2 Dynacore 310wh batteries which will power the setup for around 3.5h each. And they're still 200g lighter than AB's 190wh batteries.
Is it as nimble as an A7 or GH5 setup? No. But from my experience, when shooting Alexa shoulder mount I'm moving just as quick as someone shooting mirrorless. Except if I've done my job right on the day, I can then grade that footage to match pretty much any feature shot on the Alexa. I can't really do that with mirrorless cam footage...
 

Hey all,
I've just finished up a new grading tutorial especially for any of you shooting CinemaDNGs. It actually works with any CinemaDNG, not just limited to Blackmagic cameras.
In the tutorial I show you how get access to the full dynamic range, richer colours throughout the full range, and all in a curve thats a lot nicer to grade than BMD Film.

Feel free to leave any feedback or questions and I'll do my best to help you out!
 

Hey all,
I've just finished up a new grading tutorial especially for any of you shooting CinemaDNGs. It actually works with any CinemaDNG, not just limited to Blackmagic cameras.
In the tutorial I show you how get access to the full dynamic range, richer colours throughout the full range, and all in a curve thats a lot nicer to grade than BMD Film.

Feel free to leave any feedback or questions and I'll do my best to help you out!
 

This is actually really impressive. Top work!
How does the GH5 footage feel to grade once converted? I presume it wouldn't handle quite as nice as actual Alexa footage?

This is actually really impressive. Top work!
How does the GH5 footage feel to grade once converted? I presume it wouldn't handle quite as nice as actual Alexa footage?

This is actually really impressive. Top work!
How does the GH5 footage feel to grade once converted? I presume it wouldn't handle quite as nice as actual Alexa footage?

This is actually really impressive. Top work!
How does the GH5 footage feel to grade once converted? I presume it wouldn't handle quite as nice as actual Alexa footage?

Hey all,
I've just finished up a new grading tutorial especially for any of you shooting CinemaDNGs. It actually works with any CinemaDNG, not just limited to Blackmagic cameras.
In the tutorial I show you how get access to the full dynamic range, richer colours throughout the full range, and all in a curve thats a lot nicer to grade than BMD Film.

Feel free to leave any feedback or questions and I'll do my best to help you out!