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John Paines wrote:Captain Hook, the question for me is whether the same is observed with the BMPCC.
Same difference in stops above/below mid grey across ISOs as i've explained, just different total dynamic range as I mentioned before.
John Paines wrote:I'm assuming this behavior is seen only with raw, and not log. In that event, can it be observed both with in-camera settings (same shot, 800 v 1600) as well as changes to ISO metadata of a single shot in Resolve, as above? I ask, because there's a claim (or myth?), going back years I think, that for raw, in-camera ISO is not "just" metadata for 1600, because 1600 applies a unique curve, unlike other settings.
There's confusion over the ISO log curves applied when selecting BMDFilm, versus the log curve used in the cDNG's to more effectively allocate image data across bits. They are different things. My advice is don't concern yourself with the RAW data and how it's stored - our cDNG's contain a linearization table so just think of it as linear as that's what RAW processors will do with it. From linear you have a choice of colour spaces/gamma to transform into. BMDFilm is one of the choices in Resolve which is the log curve/gamut you would directly deal with and the one to pay attention to.
I mentioned before that only the 4.6K will use different log curves in Resolve when selecting different ISOs, the BMCC/Pocket will only use the ISO800 curve in Resolve and changing the ISO is the same as adjusting the exposure slider. In camera (BMCC/Pocket/4K/4.6K/etc) selecting a different ISO will apply a different log curve. For RAW this is only a monitoring difference, for ProRes this curve gets "baked in". So for testing the Pocket camera you would have to shoot ProRes BMDFilm and change ISOs, you will not see a log curve difference with RAW since Resolve will only use the ISO800 log curve, unlike with the 4.6K.
Hopefully this is clear as i think i would just be repeating myself from here.