BMCC out of phace

Hi Frank,
here are some stills. Only LUTs applied, no additional color correction. The first one is from a RAW footage. BMCC lut applied...

Milen, were you using ND or Variable/Fader ND filters?

If you were and they are not IRND or you had no IR Cut filter then the orange could be a result of IR contamination.

Can you send us a single frame DNG, than I look into it.

Here is a still that's been rendered out using ACES color space in Resolve. A lot closer to the actual color of the jacket. Have you noticed that the BMCC LUT is a lot more greenish, it gives a cool look, but in my opinion it's not very accurate! For those of you stuck with lemon red, this might be a solution.

ACES COLOR SPACE_1.103.3.png.Still001.jpg

Cheers,

Milen

You might want to post in the Post Production (DaVinci Resolve) portion of the forum as you seem to be right about the BMCC LUT. I like this ACES colour space rendition but it might be too pink for the skin tones. There may not be a perfect answer as the variation in colour from the different LUTs suits different looks that are desired.

Rick Lang
Sent from my iPad using Tapatalk HD

It is really a shame that this camera came out with lots of expectation but someone did not meet the bar it raised. This issue with colors still is not solved and it has been over 3 months now, that I can't use the camera on paying jobs. The only thing I keep doing with it is just testing it! Please get this solved. I updated the firmware as asked, but still the issue is still staring at me in face.

The way my particular camera interprets colors is not right either in ProRes or Raw.

I just did a very quick test.

Nothing scientific - I literally just put a red t-shirt on a chair, shot in different formats, opened in QuickTime and exported a JPEG of each. I also shot a photo on my iPhone for comparison.

iPhone

iphone.JPG (757.4 KiB) Viewed 16836 times

DNxHD (Film)

DNxHD Film.jpg (23.66 KiB) Viewed 16836 times

DNxHD (Video)

DNxHD Video.jpg (27.48 KiB) Viewed 16836 times

ProRes (Film)

ProRes Film.jpg (21.24 KiB) Viewed 16835 times

ProRes (Video)

ProRes Video.jpg (23.52 KiB) Viewed 16835 times

CinemaDNG
Download here.

Tis is from your DNG - doesn't look too shabby in my book.

Untitled_1.13.1.jpg (566.65 KiB) Viewed 16808 times

I feel like I'm looking at the "pool shark" footage from JB...is that shirt orange or red? Seriously...

If it's red...the iPhone wins.

Its not just red that show the problem. Orange turns yellow, green gives a dark shade of green; things are just not working with this Camera.

Have you called BM? What did they say?

Its not just red that show the problem. Orange turns yellow, green gives a dark shade of green; things are just not working with this Camera.

When you say "this camera", do you mean only the BMCC you have, or all/most BMCCs?

James Tonkins appears to get good colors shooting BMCC ProRes Film (log):


If anything, I might prefer if he had added a tiny bit more saturation in the grading of his piece, but that's a matter of personal preference.

Or: Are you only referring to BMCC ProRes Video (Rec.709) footage? ... or RAW, too?

-

Its not just red that show the problem. Orange turns yellow, green gives a dark shade of green; things are just not working with this Camera.

When you say "this camera", do you mean only the BMCC you have, or all/most BMCCs?

James Tonkins appears to get good colors shooting BMCC ProRes Film (log):


If anything, I might prefer if he had added a tiny bit more saturation in the grading of his piece, but that's a matter of personal preference.

Or: Are you only referring to BMCC ProRes Video (Rec.709) footage? ... or RAW, too?

-

I can only talk about the one I have. It can't be fair to presume that everyone else is having this problem. I'm experience this issue is all the shooting modes.

Its not just red that show the problem. Orange turns yellow, green gives a dark shade of green; things are just not working with this Camera.

If I get time over the weekend I'll try shoot some more tests with red, orange and green objects.

We've been shooting behind the scenes with the camera a lot - and I have to say, I've never noticed any of these issues - however, I haven't gone back and looked at the footage to see if all the red objects and now magically a nice shade of orange.

Setup my BMCC and my 5DmkII in my office with some props of "know colours" as I like to call them. Items that you would be familiar with as the brands attached to those colors should be somewhat familiar.

Canon RED
Kodak GOLD
Starbucks GREEN & PURPLE
Static cloth ORANGE
and in the back, purely by happy coincidence...
Redrock Micro - BLUE

Both BMCC and 5d set to 1600 ISO, f5.6, both set to 3200k for white balance. THe 5D had the Canon 24-105L and the BMCC had the 16-35II L. The colour rendition difference between these two lenses is so minute I don't think it's even noticeable. However if someone wants to be properly a*al, I can through the 24-105 on the BMCC and add an extra image. For full disclosure, the 5D was shot at 1/80...and the BMCC at 180 degrees...again, I don't think this difference amounts to much for this test.

FIRST
5DII still, shot in RAW CR2 and converted in ACR default. No adjustments other than resize to 1920x1280.



SECOND
5DII video, placed on Premiere Pro CS5.5 timeline and still capture saved.



THIRD
BMCC RAW capture, unprocessed cDNG placed on Premiere Pro CS5.5 timeline and still capture saved.



FOURTH
BMCC RAW capture, cDNG converted in ACR default. No adjustments



FIFTH
BMCC ProRes - film LUT, placed on Premiere Pro CS5.5 timeline and still capture saved.



Lastly...I took a snapshot with my iPhone 5. Opened in Ps 5.5, colour space changed to sRGB and resized for web.



So if you are familiar with any of these brands, I think the colours reproduced are all pretty close.

One more...if I take the BMCC RAW cDNG into ACR and use the eyedropper to correct my white balance...I get this result.


BTW...I would have brought all this into resolve, but I left my dongle at home.

sean

"Fourth" and "Fifth" shots look orange on my screen (MacBook Pro with 15" LG Retina), however "Third" does not and looks similar in colour to the 5D, more saturated though.

yeah, I'm not sure what Premiere Pro is doing with the DNG file on conversion, but the saturation is crazy high.

For whatever it's worth...standing here looking at the props with the naked eye...the iPhone reproduced the colors the closest. Interested eh!

I've never found any camera that could reproduce the colour of the Anti-Static cloth. It's a very unique colour. It's orange, but it has hues of purple and magenta in it. Nothing seems to be able to get that. It's my camera test cloth

"Fourth" and "Fifth" shots look orange on my screen (MacBook Pro with 15" LG Retina), however "Third" does not and looks similar in colour to the 5D, more saturated though.

I'm seeing the same thing on my 15-inch Late 2011 MacBook Pro.

For what it's worth... When we originally tested a pre-release camera - we found that we got much better results with Adobe's tools than Resolve in terms of accurate colour reproduction. I haven't done any tests recently though.

For whatever it's worth...standing here looking at the props with the naked eye...the iPhone reproduced the colors the closest. Interested eh!

There is a simple explanation, the iPhone is the most processed, it's been through a careful set of automatic filters etc to produce that image.

Now I suspect with the 5D RAW still someone with sufficient skill could get the colour reproduction better there (this may not look better though).

For whatever it's worth...standing here looking at the props with the naked eye...the iPhone reproduced the colors the closest. Interested eh!

There is a simple explanation, the iPhone is the most processed, it's been through a careful set of automatic filters etc to produce that image.

Now I suspect with the 5D RAW still someone with sufficient skill could get the colour reproduction better there (this may not look better though).

"sufficient skill" ouch!! hahahaha

For sure, the iphone is full auto, including white balance. However, since I'm restricted in white balance options on the BMCC, I chose the closest temp I could recreate across both cameras.

Once white balance was corrected in the raw image, the color rendition is still not the same between both cameras, and neither could reproduce the Anti-Static cloth. Both camera's reproduce red slightly differently.

Once white balance was corrected in the raw image, the color rendition is still not the same between both cameras, and neither could reproduce the Anti-Static cloth. Both camera's reproduce red slightly differently.

The problem here is, if a client wants his or her shade of red and the camera cannot reproduce it without going through the headache of masking and ticking each frame, you might as well go out of business because the client won't pay for the time it takes to make it right! Take for example the shade of red that appears on Coca cola trade marks; no matter what commercial form the product is in, either, in a film or just TV, that red is red just the way they have kept it for ages. If BMCC cannot be able to work with colors correctly, it is just a matter of time that the whole thing may backfire.

People really what this camera to work. I really do as well, but so far I just can't be happy with the reproduction color. I'm speaking for the specific camera I have. However, it seems like I'm not alone in this boat. My hope is that it is just a firmware issue. Also, I hope the silence of the team does not play the slow response game in hope that the warrant runs out.

Any word from Engineers please.

For whatever it's worth...standing here looking at the props with the naked eye...the iPhone reproduced the colors the closest. Interested eh!

There is a simple explanation, the iPhone is the most processed, it's been through a careful set of automatic filters etc to produce that image.

Now I suspect with the 5D RAW still someone with sufficient skill could get the colour reproduction better there (this may not look better though).

"sufficient skill" ouch!! hahahaha

For sure, the iphone is full auto, including white balance. However, since I'm restricted in white balance options on the BMCC, I chose the closest temp I could recreate across both cameras.

Once white balance was corrected in the raw image, the color rendition is still not the same between both cameras, and neither could reproduce the Anti-Static cloth. Both camera's reproduce red slightly differently.

Ooops, should have made it clearer that I assummed that you had left this as unadulterated originals as far as possible. Much in the way of CC would have invalidated the test.

I'm sure you could have matched them better with a few moments if that had been the aim of the test.

Once white balance was corrected in the raw image, the color rendition is still not the same between both cameras, and neither could reproduce the Anti-Static cloth. Both camera's reproduce red slightly differently.

The problem here is, if a client wants his or her shade of red and the camera cannot reproduce it without going through the headache of masking and ticking each frame, you might as well go out of business because the client won't pay for the time it takes to make it right! Take for example the shade of red that appears on Coca cola trade marks; no matter what commercial form the product is in, either, in a film or just TV, that red is red just the way they have kept it for ages. If BMCC cannot be able to work with colors correctly, it is just a matter of time that the whole thing may backfire.

People really what this camera to work. I really do as well, but so far I just can't be happy with the reproduction color. I'm speaking for the specific camera I have. However, it seems like I'm not alone in this boat. My hope is that it is just a firmware issue. Also, I hope the silence of the team does not play the slow response game in hope that the warrant runs out.

Any word from Engineers please.

For sure. However, many factors play into color reproduction. Speaking of which, the Coca-Cola red is an easily captured and reproduced red. Most large companies choose colors that fall within an easily reproduced gamut.

In nature, there are some colors that are going to fall outside of your capture color space. That the nature of the science. Just like your monitor can't reproduce all the colors in the AdobeRGB color space. The sensor in digital cameras (stills or video) have their own limitations. Also, the quality of the source you use to light your subject is important as well.

I posted stills that were untouched...because the OP was have trouble with a strong image cast and a specific issue with orange/red. I was merely providing some raw captures for comparison with his results.

Take for example the shade of red that appears on Coca cola trade marks; no matter what commercial form the product is in, either, in a film or just TV, that red is red just the way they have kept it for ages.

About ten years ago I was involved in designing a logo and the president said he wanted to see Coca-Cola red. We couldn't find a Pantone match for that but we were close. Except we compared a few different Coke products and the hue was different. So we contacted Coca-Cola and they graciously explained that the hue can vary with different products and in different regions! Sorry, I too shared the myth that there was a Coke red but it's just another urban myth. Everyone knows what you mean when you say Coke red but it isn't one colour in fact. Should have called Kodak to ask about Kodak yellow...

Rick Lang
Sent from my iPad using Tapatalk HD

Take for example the shade of red that appears on Coca cola trade marks; no matter what commercial form the product is in, either, in a film or just TV, that red is red just the way they have kept it for ages.

About ten years ago I was involved in designing a logo and the president said he wanted to see Coca-Cola red. We couldn't find a Pantone match for that but we were close. Except we compared a few different Coke products and the hue was different. So we contacted Coca-Cola and they graciously explained that the hue can vary with different products and in different regions! Sorry, I too shared the myth that there was a Coke red but it's just another urban myth. Everyone knows what you mean when you say Coke red but it isn't one colour in fact. Should have called Kodak to ask about Kodak yellow...

Rick Lang
Sent from my iPad using Tapatalk HD

I find it hard to believe that there wasn't a specific Pantone number for Coca-Cola red. What kind of an ad agency did Coke have anyway?

Take for example the shade of red that appears on Coca cola trade marks; no matter what commercial form the product is in, either, in a film or just TV, that red is red just the way they have kept it for ages.

About ten years ago I was involved in designing a logo and the president said he wanted to see Coca-Cola red. We couldn't find a Pantone match for that but we were close. Except we compared a few different Coke products and the hue was different. So we contacted Coca-Cola and they graciously explained that the hue can vary with different products and in different regions! Sorry, I too shared the myth that there was a Coke red but it's just another urban myth. Everyone knows what you mean when you say Coke red but it isn't one colour in fact. Should have called Kodak to ask about Kodak yellow...

Rick Lang
Sent from my iPad using Tapatalk HD

I find it hard to believe that there wasn't a specific Pantone number for Coca-Cola red. What kind of an ad agency did Coke have anyway?

Coke Red is Pantone 484

[quote="brilliantimage"]Take for example the shade of red that appears on Coca cola trade marks; no matter what commercial form the product is in, either, in a film or just TV, that red is red just the way they have kept it for ages.

About ten years ago I was involved in designing a logo and the president said he wanted to see Coca-Cola red. We couldn't find a Pantone match for that but we were close. Except we compared a few different Coke products and the hue was different. So we contacted Coca-Cola and they graciously explained that the hue can vary with different products and in different regions! Sorry, I too shared the myth that there was a Coke red but it's just another urban myth. Everyone knows what you mean when you say Coke red but it isn't one colour in fact. Should have called Kodak to ask about Kodak yellow...

Rick Lang
Sent from my iPad using Tapatalk HD

I find it hard to believe that there wasn't a specific Pantone number for Coca-Cola red. What kind of an ad agency did Coke have anyway?

Coke Red is Pantone 484[/quote]

That contradicts my experience as I described it several years ago. Thanks for all the supporting background information.

From an email by Roger Breton:
"For sure, the Red Coca-Cola color lives outside of any PANTONE
specifications. The "reddest" color PANTONE has is either PMS 185 or PMS
485. And those two look orange in comparison to the Coca-Cola red... I remember reading a few years ago, in a packaging magazine, that, with the aid of color
management techniques, the Coke print buyers had managed to reduce the color
appearances of their red down from 20,0000 to 2000 variations only!"

Rick Lang
Sent from my iPad using Tapatalk HD

Once white balance was corrected in the raw image, the color rendition is still not the same between both cameras, and neither could reproduce the Anti-Static cloth. Both camera's reproduce red slightly differently.

The problem here is, if a client wants his or her shade of red and the camera cannot reproduce it without going through the headache of masking and ticking each frame, you might as well go out of business because the client won't pay for the time it takes to make it right! Take for example the shade of red that appears on Coca cola trade marks; no matter what commercial form the product is in, either, in a film or just TV, that red is red just the way they have kept it for ages. If BMCC cannot be able to work with colors correctly, it is just a matter of time that the whole thing may backfire.

People really what this camera to work. I really do as well, but so far I just can't be happy with the reproduction color. I'm speaking for the specific camera I have. However, it seems like I'm not alone in this boat. My hope is that it is just a firmware issue. Also, I hope the silence of the team does not play the slow response game in hope that the warrant runs out.

Any word from Engineers please.

+1 This should no longer be ignored! Really, BMD just say something, we need some support!

Have you tried rendering image in ACES color space in Resolve. Works better with the red reproduction, but as Rick mentioned it's a little bit pinkish in the skin tone area!

Cheers,
Milen

Rick, I wasn't challenging your honesty or anything. I have worked for a couple of "Coke big" companies and without exception their ad agencies specifically defined their "colors" in Pantone. I used to have a very hard time matching Pantone 2718 in RGB...probably never did get it exactly right.

Rick, I wasn't challenging your honesty or anything. I have worked for a couple of "Coke big" companies and without exception their ad agencies specifically defined their "colors" in Pantone. I used to have a very hard time matching Pantone 2718 in RGB...probably never did get it exactly right.

Thanks for that information and I certainly believe you. There is an iPad app that includes over 13,000 Pantone colours and part of that app includes the CMYK and RGB values, but it is true that matching to print colour using RGB is just an approximation at times since an exact match may not be possible, especially when a colour is outside the colour space you may be working in. We never talked to any of Coke's ad agencies as our contact was directly to a manager in Coca-Cola. Too long ago to recall who.

Rick Lang
Sent from my iPad using Tapatalk HD

It is so fraustrating to have an equipment that is not working correctly. When talking to the mafufacture, they have no clear response on ways to fix it. How come Engeers at BMD cannot even comment on this issue; that my camera does not reproduce colors correctly! The last time I heard from someone was that we will get to you if we get something from the engeers! It has been over a month now and still waiting.

I'm not sure why I'm jumping into this; believe me, I'm not making fun of anyone's point of view... I'm just trying to to point out something that should be inherently obvious.

That is: you can't possibly expect to match the color of a 3D object in the real world with an arbitrary Pantone color. The most you can *aspire* to match is the *hue* of a reference color. Any object that contains highlights and shadows will vary from the reference color; otherwise, it would look like a cardboard cutout.



For reference, that's a Pantone 484 cardboard cutout.

You might be able to get a flat object - like a logo, under flat light - to pretty much match a reference. But if it's interacting with the world, and light reflecting off of other objects, all sorts of other colors and shades are going to enter into the picture, and that's almost always part of what you're trying to capture in any kind of photography or cinematography.

I know, it's true; clients are always going to throw a Pantone reference at you for color matching. But Pantone comes from a different world: the world of print or manufacturing. It's meant to define an utterly static color value; it has next to nothing to do with how that color might look once it gets out into the world.

That Coke bottle is going to look entirely different - it *has* to - at high noon on a Cape Cod beach, than it will the same night at a candlelit bar.

I work a lot with 3D CGI, and rendering techniques such as raydiosity and global illumination, which deal specifically with light coming from all directions, bouncing off different-colored objects, and contributing traces of those colors to the scene and the objects your attention is focused on. They greatly improve realism, because they mimic the incredibly complex and glorious way light bathes everything all the time in the real world.

So just what am I babbling about here?

I guess I just can't imagine pointing a camera at something, and complaining that the camera is broken if what you get isn't identical to what you would see if you just held up a mirror. For goodness sake, use a grey, white or color reference, and correct to match the values that are most important to you. There are effective ways of doing it other than masking everything but a specific object.

There's a reason a copy of Resolve comes with every BMCC. They're both astonishing tools. If you really think the camera is "broken", send it back - it's still under warranty. Please.

And for God's sake, please correct the spelling of "phase". It's like an ice pick in my eyeballs.

Thanks.

...so is the pool player's coat orange or red?

I started this thread with a legitimate concern. MY camera does not reproduce color correctly. Most of the colors are all over the place even with correct color temperature. The most affected is red. Anything with red turns orange. Orange turns yellow. I gave an example of trying to capture red as used on coca-cola because probably coca-cola is a well know product worldwide as reference. I don't know how some people are turning this on a graphic object produced by a 3D software came into play.

Simply, when I shoot objects that have red, the reds show up as orange. This can be corrected in editing but it will take forever to correct every little bit of red in every project that MY camera is used. It is not economical in terms of time and even financially to work like this.

I have a legitimate issue and if some the people have nothing to say, please just stay off topic and let the manufactures give their response. They have agreed something is wrong with it already. The one who wears the shoe, is the only one who knows where it pinches. Please be professional without being a bully.

Bottom line. If you see something with your eyes as red. Shoot it with a still camera it is still red but when you shoot the same thing with BMCC under the same lighting conditions and white balancing, it turns orange; bring in another object, the result are the same, repeat the same in RAW, ProRes, etc with the same results, what does that tell you?

And for God's sake, please correct the spelling of "phase". It's like an ice pick in my eyeballs.

Thanks.

The spelling is corrected sir. English is not everybody's number one language and that is reality for at least those who embrace diversity.

Anyway, I think you missed the point. The comparison is not between a virtual object and a physical object. Everyone will agree that a 3D object will never look exactly like a physical object. My issue is about colors on a physical object shot in real world space.

I started this thread with a legitimate concern. MY camera does not reproduce color correctly. Most of the colors are all over the place even with correct color temperature. The most affected is red. Anything with red turns orange. Orange turns yellow. I gave an example of trying to capture red as used on coca-cola because probably coca-cola is a well know product worldwide as reference. I don't know how some people are turning this on a graphic object produced by a 3D software came into play.

Simply, when I shoot objects that have red, the reds show up as orange. This can be corrected in editing but it will take forever to correct every little bit of red in every project that MY camera is used. It is not economical in terms of time and even financially to work like this.

I have a legitimate issue and if some the people have nothing to say, please just stay off topic and let the manufactures give their response. They have agreed something is wrong with it already. The one who wears the shoe, is the only one who knows where it pinches. Please be professional without being a bully.

Bottom line. If you see something with your eyes as red. Shoot it with a still camera it is still red but when you shoot the same thing with BMCC under the same lighting conditions and white balancing, it turns orange; bring in another object, the result are the same, repeat the same in RAW, ProRes, etc with the same results, what does that tell you?

Call support. Send your camera back. End of problem.

Call support. Send your camera back. End of problem

Actually, that is what I'm just going to do. I was hoping it was something that can be fixed without having to send it back.

You might be able to get a flat object - like a logo, under flat light - to pretty much match a reference. But if it's interacting with the world, and light reflecting off of other objects, all sorts of other colors and shades are going to enter into the picture, and that's almost always part of what you're trying to capture in any kind of photography or cinematography.

I know, it's true; clients are always going to throw a Pantone reference at you for color matching. But Pantone comes from a different world: the world of print or manufacturing. It's meant to define an utterly static color value; it has next to nothing to do with how that color might look once it gets out into the world.

That's not the point. Color reproduction is very serious business in printing. It's the whole reason we even have a Pantone system in the first place. (among others) How the bottle looks under candlelight isn't important. What's important is that it looks the same as the poster, the box packaging and the logo on the tshirt, when they are all viewed in the same environment.

To say it's not important to be able to accurately reproduce colors in camera...is just crazy. There are some printed colors that will fall outside of what the sensor can capture. (like in my example) This is the nature of the sensor's design. Again, some sensors are better than others. However, you have to be able to to capture a usable gamut of colors.

Call support. Send your camera back. End of problem

Actually, that is what I'm just going to do. I was hoping it was something that can be fixed without having to send it back.

I get that Julius...but it's been two months since you started this thread. I would have sent it in after two weeks!

I get that Julius...but it's been two months since you started this thread. I would have sent it in after two weeks!

I just talked to BMD support, again, they say that they are aware of the problem and they also know it is a bug that is affecting many of the cameras and they are working on it back in the Wallabies' land, Australia.

Thanks for the update Julius. I think I would still ask for a replacement camera personally. Hopefully they come up with a solution quickly...

Same problem here. Everything that is red turns orange.
I hope a firmware will fix it, rather than having to send the camera in for a second time.

I get that Julius...but it's been two months since you started this thread. I would have sent it in after two weeks!

I just talked to BMD support, again, they say that they are aware of the problem and they also know it is a bug that is affecting many of the cameras and they are working on it back in the Wallabies' land, Australia.

Finally!Cheers Julius! Was it so hard for someone from the team to post this info here? There is clearly a problem with the reds and with BMCC LUT. I don't know why some people are talking about 3d models, mirrors and how we are basically too ignorant to expect that a camera should reproduce colors correctly? I am afraid that probably all the cameras are affected by this "bug". Can someone with "non buged" camera post a test here? Come on guys, help us out!

Cheers,
Milen

Same here, red is orange or I'm blind. This is unacceptable for any serious work.

So we know that it's a bug, confirmed through BM. Now i'd like to know if this is a bug in all CC 2.5k (which some folks didn't notice until now), or only in some few cameras? Is this maybe even the "quality issue" that stopped CC shipments last year?

(which some folks didn't notice until now)

This was noticed way back when JB first released his Pool Player footage and had to explain that the jacket she was wearing was red.

(which some folks didn't notice until now)

This was noticed way back when JB first released his Pool Player footage and had to explain that the jacket she was wearing was red.

This appears to be more of an issue with the inbuilt BMCC video LUT that's applied to the prores/dnxhd.

Just checked my resolve project, with all nodes disabled her jacket is red. That's from the DNGs did he also do a prores?

(which some folks didn't notice until now)

This was noticed way back when JB first released his Pool Player footage and had to explain that the jacket she was wearing was red.

This was noticed by JB, ok. But some folks didn't notice, either because it doesn't happen to all cameras (concluding that some cameras are defect somehow), or because it only happens under certain circumstances, particularly when recording video mode instead of film mode (concluding it's not a defect in some cameras but a design flaw in all cameras). If it's a defect, you should return your faulty camera. If it's a design flaw, BM should fix it in firmware (probably "only" need to adjust the LUT).

Just checked my resolve project, with all nodes disabled her jacket is red. That's from the DNGs did he also do a prores?

I remember that he first released a ProRes and that is where we all noticed the orange red jacket. As I recall, JB's comment was that true red is very hard to capture.

(which some folks didn't notice until now)

This was noticed way back when JB first released his Pool Player footage and had to explain that the jacket she was wearing was red.

This was noticed by JB, ok. But some folks didn't notice, either because it doesn't happen to all cameras (concluding that some cameras are defect somehow), or because it only happens under certain circumstances, particularly when recording video mode instead of film mode (concluding it's not a defect in some cameras but a design flaw in all cameras). If it's a defect, you should return your faulty camera. If it's a design flaw, BM should fix it in firmware (probably "only" need to adjust the LUT).

The problem exists when I shooting RAW as well.