Matching gen 4 and gen 5 in camera

I have a small podcast set up with 2 bmpcc4k (gen4 color sience) and a g2 plus (gen5 color sience) feeding into an atem mini pro iso. Naturally the g2 plus has the flatter look with the gen5.

since most of my clients prefer the out of camera gen4. i'm hesitating to update the firmwares to the newer gen5. 90% of my work is delivered without any color grading.

Is there a older firmware for the g2 plus that has gen4? if not, is there a siencifically accurate LUT that can help me display or bake the gen4 look into the gen5 camera.

Upgrade the pockets to gen 5 and set every camera to 'extended video' or 'video' (to your taste) in the record menu. Every camera will now match.

If you're mixing live via the Atem/delivering without a grade you shouldn't really be using 'film'/log.

Thank you for your reply Mike,

i need the gen4 video look straight out camera. the gen5 still is too flat for me and seems too cinematic or kind of a intermediary look waiting to be graded even in the video gamma.

What is the recording format here? ProRes? In Film log?
I think I can create you a conversion LUT for that.

What is the workflow with your clients? Do they just apply a LUT?
If yes they could just apply my LUTs for Gen 4 and 5 and will get identical outputs:

Gen 4:

LBK-Neutral-Hi-DeSat v10
viewtopic.php?f=2&t=97623

Gen 5:

LBK-BMD_Gen5_neutral_High-desat_v10
viewtopic.php?f=2&t=151668

"Podcast" and "clients" seems an odd combination. Can you expand a bit here?

First of all thank you Robert and Jim for your replies.

for Robert, I'll try your luts tomorrow and get back to you. I appreciate it.

Here's the situation in detail:

We rent our fully equiped podcast studios for different clients.

Our current workflow is that each set up has 3 to 4 blackmagic cameras feeding a clean hdmi into an atem mini pro iso that we use for live switching while each camera records seperatly a blackmagic raw file into an ssd.

At the end of the session some clients choose to take the 1080p file edited out of the atem meaning no post or grading whatsoever. the others prefer the 4k where we can use the drp file out of the atem to switch the 1080p footage with the 4k bm raw. In the latter instance we have no problem color matching the cameras in resolve.

We currently need the g2 plus to output a gen4 like color out of the hdmi.

So if I understand this correctly, the clients who take the BRAW footage have no problem (probably because they can set the desired color science generation in the RAW panel).
Your main issue are the clients who take the ProRes or h264 file from the Atem master, because here the cameras don't match. And those files already got a LUT backed in.

Did I get this right?

First of all thank you Robert and Jim for your replies.

for Robert, I'll try your luts tomorrow and get back to you. I appreciate it.

Here's the situation in detail:

We rent our fully equiped podcast studios for different clients.

Our current workflow is that each set up has 3 to 4 blackmagic cameras feeding a clean hdmi into an atem mini pro iso that we use for live switching while each camera records seperatly a blackmagic raw file into an ssd.

At the end of the session some clients choose to take the 1080p file edited out of the atem meaning no post or grading whatsoever. the others prefer the 4k where we can use the drp file out of the atem to switch the 1080p footage with the 4k bm raw. In the latter instance we have no problem color matching the cameras in resolve.

We currently need the g2 plus to output a gen4 like color out of the hdmi.

Make a CST that goes from Gen 5 to Gen 4, then use the Gen 4 Luts and they should match.

Here's the situation in detail:

Got it. Thanks.

You feed the cameras to the ATEM without a LUT? (And the clients like that?!)