These cameras are all Bayer pattern sensors. De-Bayering from RAW is arguably the most important step in the process. It's analogous to developing film, but can be done multiple times in

I don’t think BlackMagic are using a Sony SDK for Venice as I don’t think the SDK is ready yet. I suspect they are using whatever it is they created for the F55 (which is not based on a Sony SDK).

Ah. This is interesting. Would this be a level playing field though? Isn’t the danger here that you’re, in part, you are now comparing how good the manufacturer’s software is at converting

It would be interesting to compare what the raw controls can dig out of the X-OCN to what can be achieved using Base Grade in Baselight 5.0. That responds in many ways more like raw controls than

Don't use LGG use log controls in ACES in Resolve Cheers Geoff Boyle NSC Cinematographer EU based +31 (0)637155076

I would agree with this. In particular there is something very pleasing about the way the extreme highlights look that is nicer than the F55. I don’t really see that big an improvement in over

All I am saying is that in Resolve, Lift/Gamma/Gain offset etc in ACES yield markedly different results to using the metadata sliders and I personally find I am able to pull more useable data out of

From ourexperience filming in Cartagena, the dynamic range is about 1 1/2 more comparedto the f55, especially because of the improvement in the signal-to-noise ratio,but I would highlight two

But sometimes you want the path of least resistance from A to B; that’s why I asked the question of how they compare “out of the box” in both color and DR / rolloff. At the price point these

The idea is to have a level playing field. All cameras are output to 16bit EXR in ACES AP0 using manufacturers software where possible. Are you suggesting that the Venice outputs more data than ACES

Its a shame these weren’t saved as original raw or X-OCN frames (You can extract single frames using Sony’s Raw Viewer). Then you could use the metadata tools in Resolve to adjust the exposure,

Thanks Colin, Geoff and Nick, Both of those methods seem to work a treat. Using the OFX tool Colour Space Transform in YRGB mode, lets me get back to SLOG3/Sgamut3.cine (or close enough at

If you don't want to work in ACES mode, you can use the ResolveFX Color Space Transform to convert to e.g. S-Log3 / S-Gamut3.Cine, so you can, for example, use a LUT designed for that. You will need

No, the files are ACES linear Cheers Geoff Boyle NSC Cinematographer EU based +31 (0)637155076

No probs, No IDT Resolve uses the Sony SDK directly. So ACEScct no IDT 709 ODT you're fixed! Try using offset only to correct exposure. Cheers Geoff Boyle NSC Cinematographer EU based +31 (0)637155076

Try using DaVinci Colour Managed instead of ACES, then go into the OXF panel in the colour tab and add a colour space transform from linear to Slog3 (I haven’t looked at them myself by the way, but

Hey Geoff, I've pulled the EXRs into Davinci to have a play around with them. But I haven't worked with EXRs before, and I'm struggling to convert them from Linear, back to a conventional Sony SLOG3

There are some F55’s that have very slightly different calibration settings to most that can result in a slight green shift. These cameras are basically slightly off spec (Sony can recalibrate

“What are the feelings on highlight rolloff? Especially in comparison to the current “titleholder” ARRI Alexa / Amira sensor?” Cameras shouldn’t be judged based on what stock gamma curve the

What are the feelings on skin tone and highlight rolloff? Especially in comparison to the current “titleholder” ARRI Alexa / Amira sensor? -- - Jeremey