Geoff, thanks once again for sharing the results of your test.
Different from the static workflow set up you are using in this test and the hardware configuration your are intending to use on-set, requires more than a single BMD UltraStudio Mini recorder or the Mini Monitor. It requires both, one to capture the live video signal or for grabbing stills, (the Mini Recorder), and the Mini Monitor for sending the signal to the monitor chain. The downside of this configuration is that it uses both thunderbolt ports of a Laptop or desktop computer, because none of the UltraStudio Minis have thunderbolt loop. This leaves us with no option for data management thunderbolt I/0 devices on-set. Unless, of course, we are using two computers, as I do when possible, one for data management: backup and dailies, and a dedicated one for color management.
The reason for the use of a single computer is that very often the location doesn’t permit us to bring the full DIT cart or the desktop computer on-set. To overcome this situation a video interface I/O that integrates both I/O in one device is recommended, like the BMD Ultra 4K Extreme, leaving one thunderbolt free. I don’t recommend the UltraStudio 4K because of the noise (average 77dB SPL @ 5 feet) the internal turbine produces to dissipate the heat. For this reason this unit can not be used near or on-set when recording sound. The UltraStudio 4K Extreme is a better choice.
In addition, a LUT box is required for monitoring the live grade going out to the director and video village monitors.
It’s important to notice that a LUT box with 33.33.33 grid is needed for ACES and/or HDR workflow, otherwise we are going to have constant banding interpolation, if the LUT box or the camera internal LUT server only support 17.17.17. LUT size. This is including scenes with high luminosity, like sunset, blow out highlighted doors and windows and specular lights.
For the new cameras supporting internal LUT server, like Panasonic 35, Arri Alexa XT, the workaround is to bypass the internal LUT server and to use a LUT box with the 33.33.33 size.
The downside to this workflow is that we lose the automatic metadata written info that travels with the files the looks have been applied. So, we need to keep manual track of this information through TC and proper labeling within Prelight, LiveGrade or whatever application we use on-set.
Here is a workaround to Sony F65 related to CDL.
“Sets whether to apply ASC CDL in the check box. Selects an imported CCC file or CDL file. The SDI1 system supports “ACES1.0-Rec.709” settings that perform color conversion using a built-in 3D LUT. The F65 employs a 3D LUT with 17×17×17 lattice to obtain a contour line signal for areas of smoothly varying luminous intensity. The recording signal is not affected, allowing the processing to be improved using a color grading tool that performs color conversion employing a higher-degree 3D lattice grid.”
Wondering, why in your test you are you using LUTs instead of ACES CDL or a combining of LUT+CDL to facilitate further changes and interchange of metadata in post between facilities or applications?
LiveGrade allows the user to use a combination of CDLs and LUT in Simple Mode, and to stock multiple CDLs using ACES CDL Advance. However, only one saturation can be exported from the CDLs stock.