Topics

Venice evaluation

Geoff Boyle
 

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 UHD QT at the weekend

I'm posting now because my first impressions are overwhelmingly favourable. Highlight limits in previous test have been +3.5 stop's today we had 4 with no doubt quality reduction and 4.5 with some compression.
The noise in the -5 test was there but very clean, not messy chroma noise but clean luminance noise that looked as if it would clean up nicely.
The colour response and consistency with exposure change was impressive.

I think we have a new benchmark


Cheers
Geoff Boyle NSC
Cinematographer
EU based

Sent from BlueMail

alfonso parra
 

Completely according to Geoff, a couple of weeks ago we presented our tests with VENICE at the Cartagena film festival in Colombia. We shot a full day in different places of the city. Now I am preparing an article for Cameraman magazine in Spanish, and my observations are in accordance with what Geoff indicates, the noise at -5 and even at -6 is very clean. Studying the noise we have seen that it is identical in the three channels which makes the chroma noise is minimal. The increase of the ISO up to high values ​​does not substantially increase the noise, in fact, the noise luminance remains almost identical until 5000, and the color is maintained constantly in both overexposures and under-exposures. With this, the shadows we shoot are deep and very clean. Another aspect that I liked the most was the colorimetry, especially the skin tone, which are full of nuances, soft and with a very natural appearance. Soon we will put the video of the tests on vimeo
If it looks good to Geoff, I can send him some clips of the material we shot.
Regards

Alfonso Parra AEC, ADFC
www.alfonsoparra.com
Tel Colombia 57 3115798776
Tel Spain 34 639 109 309

Mark Kenfield
 

Looking forward to seeing the results of both Geoff and Alfonso's tests.

With its 5 second boot time, 8-steps of internal ND, the added flexibility of a locking e-mount, and dual-ISO. I think the feature set of the camera is really exciting... everything except for it's underwhelming variable framerates, 1-24fps using the full sensor is pretty frustrating, I really do need 1-48/50fps for a basic 2x slowmotion. Above that isn't a big deal, we can bring in high-speed cameras for specific shots and I'm fine with that, but 2x slowmo I need regularly enough that it's an issue. And having to step down to S35mm mode in order to get it will be pretty frustrating.

Cheers,

Mark Kenfield
Cinematographer

0400 044 500

On 21 March 2018 at 06:38, alfonso parra <info@...> wrote:
Completely according to Geoff, a couple of weeks ago we presented our tests with VENICE at the Cartagena film festival in Colombia. We shot a full day in different places of the city. Now I am preparing an article for Cameraman magazine in Spanish, and my observations are in accordance with what Geoff indicates, the noise at -5 and even at -6 is very clean. Studying the noise we have seen that it is identical in the three channels which makes the chroma noise is minimal. The increase of the ISO up to high values ​​does not substantially increase the noise, in fact, the noise luminance remains almost identical until 5000, and the color is maintained constantly in both overexposures and under-exposures. With this, the shadows we shoot are deep and very clean. Another aspect that I liked the most was the colorimetry, especially the skin tone, which are full of nuances, soft and with a very natural appearance. Soon we will put the video of the tests on vimeo
If it looks good to Geoff, I can send him some clips of the material we shot.
Regards

Alfonso Parra AEC, ADFC
www.alfonsoparra.com
Tel Colombia 57 3115798776
Tel Spain 34 639 109 309

MARK FOERSTER
 

really do need 1-48/50fps for a basic 2x slowmotion
__________________________________________________________


I couldn’t agree with this more..you can never have enough over cranking. 
there’s a lot of *Firmware upgrade required.. August. 
Perhaps they don’t want to announce what they can’t deliver-yet which may be comendable.  
Is there a roadmap (like they did with the F55) I can’t find it if it’s out there...


Mark Foerster csc
Toronto
(905) 922 5555

Thomas Gleeson
 

Mark Kenfield wrote: I think the feature set of the camera is really exciting... everything except for it's underwhelming variable framerates, 1-24fps using the full sensor is pretty frustrating
I agree with mark that the Venice is looking like an awesome machine and its achilles heel is its limited frame rates. The full sensor 6K 3:2(6048 x 4032) is only capable of 24p! It can’t manage 25p? I realise the full sensor mode is not something you would use every day but would be good for VFX and green screen but I repeat no 25p? Since Sony charge an extra licence fee to unlock full frame on the camera I would not be a happy camper if I lived in Australia or Europe.

At more practical aspect ratios such as 16x9 you have to crop to 5.7K (5672 x 3190) and then you can run 25p up to 29.97p. Again I pay Sony the extra licence fee to unlock full frame and I have to crop to get 25p and I run out of puff at 29.97p when Red’s Monstro can run full 8K up to 60fps?

When you add the AXS-R7 Recorder so you can shoot RAW and add the extra licence fees this is an expensive flagship camera and so I do hope Sony can crank some more speed out of it. I have no doubt this will be a great camera and if you don’t need to overcrank your all good but for the majority of work I do the limited fps is a major hurdle.


Tom Gleeson DOP
Sydney

Geoff Boyle
 

We shot in FF, S35 3Perf and S35 4Perf at 24fps.

 

I believe that the next firmware upgrade will give speed up to 30fps in all sizes except total FF.

 

I guess I’m showing my age but I grew up with cameras that generally had a limited top speed. I seem to recall it was about 40fps.

 

I’d bring in a high speed camera when I needed it.

 

Now I understand the desire for a jack of all trades camera but you all know the rest of that phrase.

 

I’m happy to use a master of one!

 

I’ll be posting the usual latitude tests as EXR frames and UHD QT soon, I may include the dual ISO 2500 results but as they were using Beta firmware I need to check with Sony.

 

I’ll also be posting some blind tests, hopefully today, and a poll on cml.news, of sequences shot that may be FF, or Anamorphic, or lens expanded or who knows what? You tell me! All shot with the Venice with a couple of amazing looking models.

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Thomas Gleeson
Sent: 22 March 2018 00:51
To: cml-raw-log-hdr@...
Subject: [raw-log-hdr] Venice evaluation

 

Mark Kenfield wrote: I think the feature set of the camera is really exciting... everything except for it's underwhelming variable framerates, 1-24fps using the full sensor is pretty frustrating

I agree with mark that the Venice is looking like an awesome machine and its achilles heel is its limited frame rates. The full sensor 6K 3:2(6048 x 4032) is only capable of 24p! It can’t manage 25p? I realise the full sensor mode is not something you would use every day but would be good for VFX and green screen but I repeat no 25p? Since Sony charge an extra licence fee to unlock full frame on the camera I would not be a happy camper if I lived in Australia or Europe.

At more practical aspect ratios such as 16x9 you have to crop to 5.7K (5672 x 3190) and then you can run 25p up to 29.97p. Again I pay Sony the extra licence fee to unlock full frame and I have to crop to get 25p and I run out of puff at 29.97p when Red’s Monstro can run full 8K up to 60fps?

When you add the AXS-R7 Recorder so you can shoot RAW and add the extra licence fees this is an expensive flagship camera and so I do hope Sony can crank some more speed out of it. I have no doubt this will be a great camera and if you don’t need to overcrank your all good but for the majority of work I do the limited fps is a major hurdle.


Tom Gleeson DOP
Sydney

Geoff Boyle
 

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

 

Geoff Boyle
 

There’s a version on YouTube now, I’ve hit the limit on Vimeo and so it’ll have to wait for a week before that one goes up. Vimeo generally seems better quality…

This is a grade in Resolve in ACES using just the offset to adjust the mid grey level to match. A slight colour correction was made at the base grade to correct a tint from the lamps, this was then applied to every shot.

No other corrections made.

 

https://www.youtube.com/watch?v=UzADXOwZ_8s&feature=youtu.be

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: 22 March 2018 08:49
To: cml-raw-log-hdr@...
Subject: Re: [raw-log-hdr] Venice evaluation

 

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

 

sid firstframe.com
 

YouTube saying video not available… thought you’d like to know.

 

SID LEVIN | FILM + EDIT

 

FIRSTFRAME.INC

60 Thoreau Street| Suite 266

Concord, MA 01742 USA

o: 978.371.2520 | c.978.501.0488

firstframe.com | twtr: @sidlevin

From: <cml-raw-log-hdr@...> on behalf of Geoff Boyle <geoff.cml@...>
Reply-To: "cml-raw-log-hdr@..." <cml-raw-log-hdr@...>
Date: Thursday, March 22, 2018 at 1:43 PM
To: "cml-raw-log-hdr@..." <cml-raw-log-hdr@...>
Subject: Re: [raw-log-hdr] Venice evaluation

 

There’s a version on YouTube now, I’ve hit the limit on Vimeo and so it’ll have to wait for a week before that one goes up. Vimeo generally seems better quality…

This is a grade in Resolve in ACES using just the offset to adjust the mid grey level to match. A slight colour correction was made at the base grade to correct a tint from the lamps, this was then applied to every shot.

No other corrections made.

 

https://www.youtube.com/watch?v=UzADXOwZ_8s&feature=youtu.be

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: 22 March 2018 08:49
To: cml-raw-log-hdr@...
Subject: Re: [raw-log-hdr] Venice evaluation

 

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

 

Geoff Boyle
 

It'll finish processing soon!

Cheers
Geoff Boyle NSC
Cinematographer
EU based
+31 (0)637155076

On 22 Mar 2018, at 18:56, "sid firstframe.com" <sid@...> wrote:

YouTube saying video not available… thought you’d like to know.

 

SID LEVIN | FILM + EDIT

 

FIRSTFRAME.INC

60 Thoreau Street| Suite 266

Concord, MA 01742 USA

o: 978.371.2520 | c.978.501.0488

firstframe.com | twtr: @sidlevin

From: <cml-raw-log-hdr@...> on behalf of Geoff Boyle <geoff.cml@...>
Reply-To: "cml-raw-log-hdr@..." <cml-raw-log-hdr@...>
Date: Thursday, March 22, 2018 at 1:43 PM
To: "cml-raw-log-hdr@..." <cml-raw-log-hdr@...>
Subject: Re: [raw-log-hdr] Venice evaluation

 

There’s a version on YouTube now, I’ve hit the limit on Vimeo and so it’ll have to wait for a week before that one goes up. Vimeo generally seems better quality…

This is a grade in Resolve in ACES using just the offset to adjust the mid grey level to match. A slight colour correction was made at the base grade to correct a tint from the lamps, this was then applied to every shot.

No other corrections made.

 

https://www.youtube.com/watch?v=UzADXOwZ_8s&feature=youtu.be

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: 22 March 2018 08:49
To: cml-raw-log-hdr@...
Subject: Re: [raw-log-hdr] Venice evaluation

 

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

 

Noel Sterrett
 

On 03/22/2018 03:48 AM, Geoff Boyle wrote:

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net


No doubt the range/noise/etc. is best on Venice, but when comparing the F5/F55/Venice at 0, the F5 seems to me to match the Venice color better than the F55, which is a bit green. Anyone know why?

Cheers.

Noel Sterrett Admit One Pictures info@...

alister@...
 


No doubt the range/noise/etc. is best on Venice, but when comparing the F5/F55/Venice at 0, the F5 seems to me to match the Venice color better than the F55, which is a bit green. Anyone know why?

Cheers.

Noel Sterrett

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 them). It may be that the F55 camera used for the evaluation was one of these.


Alister Chapman

DoP - Stereographer
UK Mobile +44 7711 152226
US Mobile +1(216)298-1977


www.xdcam-user.com    1.5 million hits, 100,000 visits from over 45,000 unique visitors every month!  Film and Video production techniques, reviews and news.




Mark Kenfield
 

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 gamma that I can then work from.

I've been trying different ACES IDTs, and the built-in Linear conversion LUTs in Davinci without success.

I'm sure it's something obvious I'm missing (and I imagine there are plenty of others on here without any EXR experience), so I was wondering if you could give us a quick how-to guide on delinearizing linear in Davinci? (a semi-serious googling of the issue is yet to yield sweet relief). 

Cheers,

Mark Kenfield
Cinematographer
Melbourne

0400 044 500

On 22 March 2018 at 18:48, Geoff Boyle <geoff.cml@...> wrote:

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

 


Colin Elves
 

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 this should work).

Colin Elves
Director of Photography
London/Berlin.




On 24 Mar 2018, at 11:16, Mark Kenfield <mark@...> wrote:

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 gamma that I can then work from.

I've been trying different ACES IDTs, and the built-in Linear conversion LUTs in Davinci without success.

I'm sure it's something obvious I'm missing (and I imagine there are plenty of others on here without any EXR experience), so I was wondering if you could give us a quick how-to guide on delinearizing linear in Davinci? (a semi-serious googling of the issue is yet to yield sweet relief). 

Cheers,

Mark Kenfield
Cinematographer
Melbourne

0400 044 500

On 22 March 2018 at 18:48, Geoff Boyle <geoff.cml@...> wrote:

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

 



Geoff Boyle
 

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

On 24 Mar 2018, at 11:16, Mark Kenfield <mark@...> wrote:
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 gamma that I can then work from.

I've been trying different ACES IDTs, and the built-in Linear conversion LUTs in Davinci without success.

I'm sure it's something obvious I'm missing (and I imagine there are plenty of others on here without any EXR experience), so I was wondering if you could give us a quick how-to guide on delinearizing linear in Davinci? (a semi-serious googling of the issue is yet to yield sweet relief). 

Cheers,

Mark Kenfield
Cinematographer
Melbourne

0400 044 500

On 22 March 2018 at 18:48, Geoff Boyle <geoff.cml@...> wrote:

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

 



Geoff Boyle
 

No, the files are ACES linear

Cheers
Geoff Boyle NSC
Cinematographer
EU based
+31 (0)637155076

On 24 Mar 2018, at 11:20, Colin Elves <colin@...> wrote:
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 this should work).

Colin Elves
Director of Photography
London/Berlin.




On 24 Mar 2018, at 11:16, Mark Kenfield < mark@...> wrote:

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 gamma that I can then work from.

I've been trying different ACES IDTs, and the built-in Linear conversion LUTs in Davinci without success.

I'm sure it's something obvious I'm missing (and I imagine there are plenty of others on here without any EXR experience), so I was wondering if you could give us a quick how-to guide on delinearizing linear in Davinci? (a semi-serious googling of the issue is yet to yield sweet relief). 

Cheers,

Mark Kenfield
Cinematographer
Melbourne

0400 044 500

On 22 March 2018 at 18:48, Geoff Boyle <geoff.cml@...> wrote:

The EXR’s of 4K & 6K at ISO 500 are now available, link at www.cinematography.net

 

Cheers

 

Geoff Boyle NSC FBKS

Cinematographer

Zoetermeer

www.gboyle.co.uk

+31 (0) 637 155 076

 

 



Nick Shaw
 

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 to convert both the gamma (linear to S-Log3) and gamut (ACES AP 0 to S-Gamut3.Cine). ACES also has a different white point, so you will need to apply a chromatic adaptation from ACES white (~D60) to D65. I am not in front of a Resolve system right now, so I don't know how (or if) the Color Space Transform effect handles white point adaptation.

Nick Shaw
Workflow Consultant
Antler Post
U.K.

On 24 Mar 2018, at 10:16, Mark Kenfield <mark@...> wrote:

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 gamma that I can then work from.

Mark Kenfield
 

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 least).

And ACEScct + no IDT + rec709 ODT brings me to a neutral Rec709 space in ACES.

Cheers,

Mark Kenfield
Cinematographer

0400 044 500

On 24 March 2018 at 22:19, Nick Shaw <nick@...> wrote:
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 to convert both the gamma (linear to S-Log3) and gamut (ACES AP 0 to S-Gamut3.Cine). ACES also has a different white point, so you will need to apply a chromatic adaptation from ACES white (~D60) to D65. I am not in front of a Resolve system right now, so I don't know how (or if) the Color Space Transform effect handles white point adaptation.

Nick Shaw
Workflow Consultant
Antler Post
U.K.
On 24 Mar 2018, at 10:16, Mark Kenfield <mark@...> wrote:

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 gamma that I can then work from.

alister@...
 

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, lift, gamma, gain, shadows, mid and highlight levels used for the de-bayer. I’ve found that Venice material has a lot of stuff way down in the shadows that is easiest to recover using the metadata shadow and lift controls. Same with the extreme highlight range. You get very nice exposure shifts simply by using the metadata ISO control.


Alister Chapman

DoP - Stereographer
UK Mobile +44 7711 152226
US Mobile +1(216)298-1977


www.xdcam-user.com    1.5 million hits, 100,000 visits from over 45,000 unique visitors every month!  Film and Video production techniques, reviews and news.

















On 24 Mar 2018, at 11:28, Mark Kenfield <mark@...> wrote:

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 least).

And ACEScct + no IDT + rec709 ODT brings me to a neutral Rec709 space in ACES.

Cheers,

Mark Kenfield
Cinematographer

0400 044 500

On 24 March 2018 at 22:19, Nick Shaw <nick@...> wrote:
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 to convert both the gamma (linear to S-Log3) and gamut (ACES AP 0 to S-Gamut3.Cine). ACES also has a different white point, so you will need to apply a chromatic adaptation from ACES white (~D60) to D65. I am not in front of a Resolve system right now, so I don't know how (or if) the Color Space Transform effect handles white point adaptation.

Nick Shaw
Workflow Consultant 
Antler Post
U.K. 
On 24 Mar 2018, at 10:16, Mark Kenfield <mark@...> wrote:

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 gamma that I can then work from.



Geoff Boyle
 

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 can handle?

Cheers
Geoff Boyle NSC
Cinematographer
EU based
+31 (0)637155076

On 24 Mar 2018, at 13:58, alister@... wrote:
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, lift, gamma, gain, shadows, mid and highlight levels used for the de-bayer. I’ve found that Venice material has a lot of stuff way down in the shadows that is easiest to recover using the metadata shadow and lift controls. Same with the extreme highlight range. You get very nice exposure shifts simply by using the metadata ISO control.


Alister Chapman

DoP - Stereographer
UK Mobile +44 7711 152226
US Mobile  +1(216)298-1977


www.xdcam-user.com    1.5 million hits, 100,000 visits from over 45,000 unique visitors every month!  Film and Video production techniques, reviews and news.

















On 24 Mar 2018, at 11:28, Mark Kenfield < mark@...> wrote:

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 least).

And ACEScct + no IDT + rec709 ODT brings me to a neutral Rec709 space in ACES.

Cheers,

Mark Kenfield
Cinematographer

0400 044 500

On 24 March 2018 at 22:19, Nick Shaw   <nick@...>  wrote:
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 to convert both the gamma (linear to S-Log3) and gamut (ACES AP 0 to S-Gamut3.Cine). ACES also has a different white point, so you will need to apply a chromatic adaptation from ACES white (~D60) to D65. I am not in front of a Resolve system right now, so I don't know how (or if) the Color Space Transform effect handles white point adaptation.

Nick Shaw
Workflow Consultant  
Antler Post
U.K.  
On 24 Mar 2018, at 10:16, Mark Kenfield < mark@...> wrote:

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 gamma that I can then work from.