Yes, can you use those settings in cinema lock mode/canon log (it seems you can't) and do they match the Alexa in rec709, where it seems to have too much saturation and a green bias overall, or in log c, which is much more neutral?
I'm using my C100 as a b camera for a theatrical Alexa featuring being shot in 2k prores. The idea is to shoot the C100 footage (the C100 is sharper than the Alexa) at 1080p and with an external recorder if necessary or AVCHD if need be (the vast majority will be Alexa footage, this is just for action days and second unity), upscale in Compressor to 2k, then grade to match. Maybe I should just shoot canon log with the standard settings with cinema lock on and match everything in post? The footage will see a pretty extensive grade.
We normally use Color to grade and this is our first release with a significant theatrical presence. Is it worth upgrading to Resolve to deal with its in-program XYZ conversion or is the standard rec709 to XYZ conversion in the DCP suite sufficient, despite it in theory throwing out color information? Thanks.
I'm using my C100 as a b camera for a theatrical Alexa featuring being shot in 2k prores. The idea is to shoot the C100 footage (the C100 is sharper than the Alexa) at 1080p and with an external recorder if necessary or AVCHD if need be (the vast majority will be Alexa footage, this is just for action days and second unity), upscale in Compressor to 2k, then grade to match. Maybe I should just shoot canon log with the standard settings with cinema lock on and match everything in post? The footage will see a pretty extensive grade.
We normally use Color to grade and this is our first release with a significant theatrical presence. Is it worth upgrading to Resolve to deal with its in-program XYZ conversion or is the standard rec709 to XYZ conversion in the DCP suite sufficient, despite it in theory throwing out color information? Thanks.