Neufeldt

"How do you define dynamic range?" is the question that underlies and undermines most of these discussions. We could measure it as the difference between maximum signal and the point at which signal:noise reaches 1:1 (how DXOMark measures RAW still dynamic range). We could decide that 1:1 is too noisy, and that "usable" dynamic range starts at 8:1 meaning 3 fewer stops of dynamic range. We could measure from any signal at all, adding one or more stops of dynamic range relative to the 1:1 reading. We could weight RGB in various ways, perhaps considering the beginning of dynamic range to be when any one channel starts to have signal and then terminating only when all three channnels are saturated (this gives the highest possible rating). The ARRI linked pdf only tested out to 11.75 stops and didn't find dynamic range limitations, if I'm reading it correctly. It didn't test for the limits.

Sorry, careless writing on my part. Bayer-4k straight to 4k instead of >4k downscaled.

I should certainly hope it does. Shooting sub-4k and upscaling as opposed to shooting above-4k and downscaling definitely calls for one.

That London footage is incredible.

Just want to say the LUTs are great. It's interesting how different GHa is from the GHaLogC-ARRIAlexaLogCRec709 pairing. Thoughts on a more neutral LUT with basically just the highlight rolloff (no longer having oversaturated and color shifted highlight transition is wonderful), or should I just use the Leeming LUT? One note for anyone else using Resolve on a non-cinema wide-gamut hardware-LUT display (not specific to this conversion at all, just in general for color grading): Accurate color absolutely requires the usage of a flat system ICC profile, a monitor-loaded LUT, and a 3D LUT in Resolve (3D Color Viewer LUT) as Resolve does not appear to be ICC aware in any way, shape, or form. This isn't particularly noticeable with SOOC footage, but Log footage run through a LUT (let alone complete color grading) is pretty painful otherwise.