Since the camera is a True RAW recording camera it has only its native ‘look’ which is dark because it comes from sensor directly. To become EI ISO adjusted and to make the colors bright and sharp the camera has many LUT loaded you can pick from, these include:
KineLOG™ which simulates the Cineon™ Log film density curve that Kodak ™ invented for use with their film scanners, you can take the KineLOG ™ results and open them in any standard work-flow that is currently working with 16mm or 35mm film scans and get ‘on target’ levels for 90% white and 18% gray when the camera expsoure has been made at the EI ISO assigned to each in camera LUT, that EI ISO is selected with the ISO button and displays on the camera’s viewfinder along with the monitoring LUT name to remind you which LUT you have selected.
Kine709 ™ which simulates the TV and Broadcast standard signal levels to make a broadcast ready image that does not require further grading if the in camera exposure was accurate. The KineRAW™ cameras have live waveform and histogram displays to help you get the exposure accurate, and there are tick marks on the histogram for the 18% gray and 90% white card target values so you can always use those as a reference to a card or a white shirt and such to set the target exposure then make small adjustments using the zebras and monitor image to compensate for back light and cinematographers preference. By default the Kine709 ™ output results (using the 3D-LUT made by the camera) are set to ITU 601 limits.
KineColor ™ which gives full range output and somewhat lower contrast than Kine709 ™ for shooting projects were you would rather have a monitor viewable result and not need to use a monitoring LUT in your post production tools like you need to with KineLOG ™. The use of full range images that are close to final grade makes work-flow somewhat simpler and can reduce mistakes that might happen using film log work-flow for people that have been using video post production tools rather than film scan post production tools.
The camera also supports other in camera monitoring LUT and those can also be custom made and user made as needed. If you have special needs for in camera monitoring LUT you can contact us and tell us about your special needs.
The in camera monitoring LUT control how the monitor image will look, the convert the wide range True RAW sensor data into something that fits into the smaller range a monitor can display well, and adjusts the levels for 90% white and 18% gray to meet the signal targets that are normal for a monitor image that looks correctly exposed.
In addition the KineRAW ™ cameras automatically convert the in camera monitoring LUT into a 3D-LUT in each shot folder for color matching in various post production tools so that the ‘look’ you experienced when shooting and looking at the camera’s monitor can be well duplicated in the processed footage you convert from the camera’s raw data to your end use format. The color matching using the 3D-LUT works best with the Cineform ™ codec maybe and that makes the Cineform ™ workflow a good choice for fast throughput for applications like ENG and Sports type film-making where there is no time for grading the footage, in that case Kine709 would be the preferred in camera LUT and the 3D-LUT made from the Kine709 would automatically ‘grade’ the footage with a ‘one light’ processing to end use contrast and saturation.
Basically, there are two configurations for KineRAW-S35 for shooting in two typical scenarios. In the case of shooting feature motion pictures and commercials with ample lighting, the camera can be used as a normal movie camera (like Arri Alexa™ and RED™ cameras) would be for the cinematographer, and the EI ISO is used for lighting and Iris adjustment: the sensor sensitivity does not change as ISO changes. For shooting documentaries the KineRAW-S35 ™ can work well with its high ISO to capture the local atmosphere by available ambient lighting, like DSLR cameras: the sensor sensitivity changes as ISO changes. And all of these features are configured by LUT, So there is no better way to define KineRAW™ cameras as
KineRAW = RAW + LOOK
The wonder of KineRAW-S35 is that you can always re-process any shot using a different grade by way of just changing the 3D-LUT used for processing, you can adjust the white balance and ISO by selecting from many 3D-LUT options after you have shot the footage letting you concentrate on getting the footage shot and knowing that you can ‘fix’ things later to a good degree because you are recording ALL the sensor’s range of brightness and color.