Attila Bakos

Happy New Year!
Alexa has a distinctive red (when LogC is paired up with the intended display primaries). It is a deep magenta red, and twists moreso approaching extreme saturation. This can look stunning. Other cameras may opt for the default of twisting towards orange with increasing saturation because Cmos red clips to yellow, and the gamut clipping is more coherent. For example, the Alexa has an especially messy extreme red clipping at tungsten WB. With Gen 4, this extreme red behavior is simulated. Here is P4Ka v Alexa in extreme gamut, with EC709 (P4K at bottom):

Apart from desired hue twists, like Arri display gamut, hue twists when conforming color spaces via interpolation (in log etc) have generally been one of the main challenges in developing EC (to keep the true clean hue lines as they should twist). At many stages, I've coded the engine to preserve clean hue lines. Hue is perceptually salient in color, and has a privileged place in the engine today (whereas once upon a time, it was just 'one of three' in the engine)

I think he posted some code screenshot in the past where he fixed hue twists. I'm 99% sure he fixes this issue but I'll let the man talk

3 stops.

I've purchased colorized aces slog2.cine3 and, finally, I can enjoy shot in slog mode on my a6300.... It's like have a raw file when you can get a proper exposure moving only one slider, i think that the same with withe balance.. 
Color are super accurate with finally red object that are red and not orange.... Thank you so much.. 

I found a clip where I tested the stabilisation of the GoPro, it has my face in it, so you can see how the DCTL corrects the Protune clip.
Protune Flat/Native:

DCTL:

Normal contrast/saturation adjustment in Davinci YRGB mode:

 
As you can see the DCTL corrects for the yellow skintones, also the jacket of the lady in the background is supposed to be red, which is not what you get with normal contrast/saturation adjustments.
I believe my DCTL/LUTs can really make your life easier when shooting GoPro Protune Flat/Native.

I actually know @Deadcode, we help each other where we can
ACES won't force you to change the way you expose, it will actually be easier to correct an overexposed image. The offset wheel's effect is very close to a true exposure controller in ACES.

The IDT is the entry point for ACES, it linearizes the clips and converts to the color space to ACES AP0. Then ACES will convert this to a logarithmic gamma (either ACEScc or ACEScct in Resolve, whichever you choose), and to AP1 color space. So yes, you can use the IDT with both.

Unfortunately I don't have a GoPro (got the clips from a friend), but if you send me a clip with people, I can show you how it would look. Remember that the color mode must be flat, and white balance must be native.

Two new packages added to my collection. Details here: http://colorizer.net/index.php?op=aces
 
 

Colorizer.net is my stuff, thanks @Deadcode for mentioning it. I also have Fuji film simulation LUTs specially designed for S-Log2/S-Gamut3.cine, if you're interested. (I used an A6300 for the conversions.)

Check out Attila's work: http://colorizer.net/

I was hoping for Classic Neg

Oh I'd like to send a still as well! It's an 512x512 PNG and it has 262144 unique colors, is that a problem?
I'll show myself out... ?

Hey Attila, the res might be a bit low

Oh I'd like to send a still as well! It's an 512x512 PNG and it has 262144 unique colors, is that a problem?
I'll show myself out... ?

That's for N-Log, he asked for Z-Log cinema, which is one of Andrew's profiles for Nikon cameras.

Last summer film, favourite of our family. X-T3 with Bolex Moller 16/32/1.5x. 
 

Then you tell her no problem sweetheart, we'll fix you in post. ?

My new stuff, details here: http://colorizer.net/index.php?op=slog2
If you have some S-Log2/S-Gamut3.cine footage, I can apply my LUTs to them if that helps to judge quality.
Created using an A6300 & X-T3.
 

I didn't watch all of it, but he doesn't seem to convert S-Gamut to Rec.709. I know that he has skills and a good reputation, but I always find it amateurish when people apply some contrast and forget about the gamut.

Isn't the Shinobi better for the same price (on B&H)?

Filmed with my X-T3 and anamorphic with Bolex 16/32/1.5x. Taking lens Contax G 45/2 rehoused to Leica M. Used Ninja V for recording. 
 

screenshot from a film I am now editing. Halfway the hike in Austria the SSD from my Ninja V was full, so I stored new footage on SD card. In Premiere CC I edit both and Ninja files are faster to render than H265 from card....

That's kinda the point here, that once the interpretation issue is fixed in RCM there will be almost no difference. Right now RCM is different from the others but yeah, you have to open the files in separate tabs and click back and forth to see the difference. A real world scenario might be more telling.

I still recommend my own LUTs for N-Log: http://colorizer.net/index.php?op=aces
The official LUT provided by Nikon is very amateurish, see what it does to a grey gradient:

See the ripple in the highlight rolloff? It's ugly. Let's see it with curves:

You can also see that the neutrals don't stay neutral, especially the shadows.