The same settings as in the vector scope test but now with saturation levels matched to the Alexa. Cheers Geoff Boyle Cinematographer EU Based www.gboyle.co.uk +31 (0) 637 155 076

Once again, matched exposures and saturation in ACES but in Prelight this time. Normal IDT, contrast .85 Cheers Geoff Boyle Cinematographer EU Based www.gboyle.co.uk +31 (0) 637 155 076

Same as before but from Prelight this time. In reverse order. Varicam, Helium, F65, F55, C700, Alexa-SXT Cheers Geoff Boyle Cinematographer EU Based www.gboyle.co.uk +31 (0) 637 155 076

OK, I'll be doing this evaluation in stages. This post which includes links to RAW or Highest quality possible QT files from each camera of resolution and various colour charts. All cameras are in the

The CML KineRAW tests from 2015 are at https://www.cinematography.net/edited-pages/KineMax-6K-tiff.html Geoff Sysadmin

I've spent today with a Venice and a bunch of charts, we also shot lend tests but I'll post about those in glass. Obviously I haven't had time to thoroughly analyse the tests, I'll be posting EXRs and

When you load Sony material into ACES space in Resolve it uses the Sony SDK, that's why you don't need to select an IDT, just like RED. Cheers Geoff Boyle NSC Cinematographer EU based Sent from Blue

Alister you are making my argument for me. In your world everyone would be looking at different pictures. The whole bloody point of ACES is to have a standard reference so we all are looking at the sa

The stress test chart doesn't conform to any gamut, it's just as saturated as possible. An unlimited real life chart 😏 Cheers Geoff Boyle NSC Cinematographer EU based Sent from Blue

Clipped shmipped, you can't see the difference between peak white and a third of a stop less. Who cares if they're clipping or not, there's no detail there. Cheers Geoff Boyle NSC Cinematographer EU b

Whatever you say Alister, I can't be bothered with this. It any not be the latest SDK but it is an SDK, if it wasn't there would be individual IDTs for each camera or oh hell I just can't be bothered.

www.cinematography.net Cheers Geoff Boyle NSC Cinematographer EU based Sent from Blue

How could you suggest such a thing Noel! Next you'll be saying that there's no Easter Bunny! Cheers Geoff Boyle NSC Cinematographer EU based Sent from Blue

No I didn't say I was using Resolve, I've always made it very clear I use the manufacturer's software to produce the EXRs. How I produce the UHD it's is different as is how I grade the lens tests. Sto

First, thanks to Mike Most who posted publicly and all the others who sent private messages. I’d like to shut this down as it is descending into a “he said she said” hell. From the relevant web pages…

I hope Alister reads this then reads up on ACES..... Cheers Geoff Boyle NSC Cinematographer EU based Sent from Blue

I put the green at 512 because over the years I've found that's where it works best when I'm uploading to Vimeo, in the case of YouTube it's anyone's guess! I use green as the base if I'm not colour c

Also... I've said again and again I'm interested in pictures not numbers. That's why I use the G point I do. It looks better on Vimeo. Cheers Geoff Boyle NSC Cinematographer EU based Sent from Blue

I have Handbrake but I don't do the H264, Vimeo does this is because I upload DNX 444 files so that this is what is available for download. It's all a compromise, if you really want to see everything

I've already said that if the absolute accuracy is what you want then the EXRs are there. I've been doing the QTs like this for a very long time. There are examples on CML from nearly 20 years ago, if