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I understand what you're saying, but would suggest that they are only simple to deal with in post because they've had the most work put into them to achieve the in-camera profiles. It is widely known that the ARRI CEO Glenn Kennel was an expert on film colour before he joined ARRI to help develop the Alexa. Film was in development for decades with spectacular investment into its colour science prior to that, so to base the Alexa colour science on film was to stand on the shoulders of giants. Glenns book is highly recommended and I learned more about the colour science of film from one chapter in it than from reading everything on the topic I could find online for years prior: Also, Apple have put an enormous effort into the colour science of the iPhone, which has now been the most popular camera on earth for quite some time, according to Flickr stats anyway. I have gone on several trips where I was shooting with the XC10 or GH5 and my wife was taking still images with her iPhone, and so I have dozens of instances where my wife and I were standing side-by-side at a vantage point and shooting the exact same scene at the exact same time. Later on in post I tried replicating the colour from her iPhone shots with my footage and only then realised what a spectacular job that Apple have done with their colour science - the images are heavily processed with lots and lots of stuff going on in there. and now that I have a BMMCC and my OG BMPCC is on its way, I will add that the footage from these cameras also grades absolutely beautifully straight-out-of-camera - they too (as well as Fairchild who made the sensor) did a great job on the colour science. The P4K/P6K footage is radically different and doesn't share the same look at all.

RAW is RAW 12bit 4:4:4, if you have CLOG on or off it changes the base iso (clog 400 or clog3 800) to give more headroom to the highlight, If I get it right it is just an exposure trick. From the manual:

I was 100% sure because I used many time but I didi test it before posting the above.

Test the 6K mode internal, with ACES color workflow. Resolve let me only render 4K, Gpu has not enough RAM 😏

I feel perhaps 1 to 4 is only another generation away, perhaps? (a Z Cam E3-M4??) 5. they've already got a touch screen display option 6. 4K I reckon is plenty:

$150-$220 USD.

Yeah, those Rec709 grades with like 7 or 8 stops of dynamic range look so rich and vibrant. Film print style. Even 35mm film shot right now has a lot less punch than it used to. I always though the baked in profiles on the C300 Mkii or maybe the 1DC or 1DX look really really nice. Yes, you have to be more intentional with your exposing but the results are really nice. Not all log footage is the same though. Flat film scans are incredibly easy to grade. You don't need any LUTs, just a standard correction will look really good and natural.

yes, with firmware 10.63

Working on it at this very moment (and a raft of updates simultaneously). Its a generational shift rolled in. I rewrote all code since the last 4.2 update; it's been a very technical winter 🙂

I shall have to remember this when watching the next crap movie on Netflix. At least its the product of people with decades of experience using TC. 😂😂

TC very useful for particular productions can not be argued, but a linchpin in Netflix approval feels narrow minded. Not every production should have its value rest on TC input.. 🙄🙄

I understand is easier, but it is hardly "mandatory". Netflix is in love with TC!