Evgeniy

I think that C300 MK2 is a little bit noisier that MK1. Maybe it's because of Clog2, but that's my experience working with both cameras.

C100 is the best camera you can get under 2000 dollars, even under 3000. The weakest spot of this camera is AVCHD, but it's fixable with external recorder.

You can do and use whatever you want but don't say that something is better when you fail to describe why it's better. There are definitely a lot of benefits in working in ACES but only in certain workflow. Working in ACES just because it's wider color space does not make any sense.

You cannot monitor ACES because your screen is set to sRGB or REC709 and you also deliver it to REC709 screens. What's the point of having a wider color gamut if you cannot see it? You can adjust your footage with contrast and saturation sliders without using LUTs to avoid too contrast problems. ACES was created to be used in different departments to avoid color shifts when you go from edit to vfx and back. Using ACES in a single system workflow and web delivery doesn't make any sense.

You have no benefits in working in ACES nor you can't monitor it to see any difference. Why are you working in ACES?

This should help you with creating your own LUTs: https://cameramanben.github.io/LUTCalc/ You can also create transformation LUTs from Slog to Slog2 or 3 if you prefer, but I don't think it's necessary. I would suggest to transform your color space from original S-Gamut to S-Gamut 3.cine and then do a REC709 conversion, because original S-Gamut has a pretty bad color. It's funny when people suggest to work in ACES without knowing what ACES actually is.