C300: C-Log 2, which gamut?

For me it depends on the project. If I know it's going to have some life and I can allot a good amount of time in the grade I'll shoot cinema gamut. In my mind this really is a "future proofing" gamut. I can always just transform down to any of the smaller gamuts in post.

If I'm doing something for a quick turn around that will only live on the web for max a year, BT.709 it is.

I use 2020 also sometimes if I plan on delivering it in 4K within the next few years, since consumer televisions are starting to get into that space.
 
I've been using 2020 when I shoot 10bit and cine gamut when I shoot 12bit. That's what I concluded given Alan Roberts testing. Though on some projects when I'm changing between 10 and 12bit for high speed or resolution needs I'll usually go with whichever I think lends itself to the project better, cine gamut has a more subtle look where as 2020 and 709 retain more saturation given their smaller color gamut.
 
I use Cinema gamut and Production matrix so I can use ARRI LUTs in Premiere Pro. Looks great.
 
Parrot said:
I find the Alexa LUTs a bit desaturated with Cinema Gamut/Production Matrix on some of my devices.
Click to expand...

Yeah I've seen that too. I add Saturation and Vibrance in Lumetri (may also try to add saturation in camera, if possible with those settings).
After uploading to YouTube I notice that Safari is less saturated than Chrome during playback (OSX). Perhaps more tests can figure out why this happens (if not happening with other workflows).
 
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