John Brawley wrote:
Cion did "Standard" which was their take on REC 709 (aka VIDEO), Cine, which was their version of LOG (Aka FILM) and it Linear if I recall....I think they added some more gamma modes later ?
"Normal" is not Rec709, Neither is Normal Expanded, Expanded 1, or Disabled.
The Rec709 curve was clearly labeled "Video", and worked in tandem with the 'Video' colour profile in the White Balance section.
They later changed the labeling of Expanded 1 to 'Cine', to be clearer to people coming to the camera from DSLR's, but almost none of us use it, preferring Gamma 'Disabled', which sends the Sensor Linear output to the PakMedia and the SDI/HDMI ports.
Resolve looks after us with the OpenFX Colourspace Transform, which allows us to tell the software to interpret out footage as Linear, and then select which ever other camera we like as the output.
IIRC, the only other cameras allowing Linear output are Sony and Arri's cine cameras.
This also leads to why I really want BMD to do an external recorder with their raw format, as it will allow higher quality in the end projects for those of us who've been disappointed by Atomos and CV and CineDNG support that was never delivered. The camera outputs Raw, the recorders don't record it.
Braw's easier file handling and management will speed up post for us too.
John Brawley wrote:I don't recall anyone having issues dealing with it because it was linear ? I'm not sure how you got to that conclusion.
That's because the reviewers treated the footage the same way they would treat Log.
The members of the user group found out the best way to deal with the footage via experimentation - AJA
Really dropped the ball when it came to releasing workflow guides, and it was only thanks to one of our French members (who also owns BMD gear) that the best workflow got posted to the user group.
I've personally shot side by side with my Cion and mates 2K and 4K versions of the original Cine Camera, and when the correct process is followed, we have not been able to spot any difference in the footage from the BMD cameras in Film gamma, and the Cion footage after OpenFX transform from Linear to the BMD Film preset.
Used in the manner described here, the dynamic range is more then enough to get high quality images.
The viewfinders question - SmallHD, Zacuto and others all make viewfinders to a very high standard, there was never any need for AJA to make one. Instead they made a mount for the camera to allow the Cinematographer to use which ever viewfinder they preferred.