S-Cinetone is a combination of both a gamma curve and colour matrix. So you can mix different gammas with the S-Cinetone matrix to get the same colour palette but with different contrast and brightness ranges.
The FX9’s default gamma curve is labelled “original” in the camera’s paint settings. This gamma curve is the closest to the look that the s709 “Venice” LUT provides. One important thing to note about this gamma curve is that it records using full range, so it can exceed 100% and goes all the way up to 109%. This means that it may not be suitable for some broadcast applications where the footage will go direct to air without any grading or post production adjustment.
If you do need a broadcast safe output then you should consider using Hypergamma 1 with the S-Cinetone matrix. The look is very similar to the original matrix, but Hypergamma 1 never exceeds 100% so it is “broadcast safe”.
OK folks. I wanted to see just how well a 2/3″ broadcast lens would work on an F3, but don’t have $5.5k to fork out on one of the Abel adapters. So with a bit of head scratching, a few, lowish cost lens purchases and a few hours in the workshop I cobbled together my own adapter. At first I tried a 2x magnifier but this didn’t quite give me full sensor coverage and was soft out in the corners. With a little more work I took the magnification up to 2.5x and I have clean corners. I’m really pleased with the performance, although one lens element needs changing for a higher quality element to combat some softness when the iris is fully open.
My old Canon J16x8 f1.8 becomes a 24 to 320mm f4(ish) par-focal lens which is actually quite handy. Next step is to make up a power cable for the lens so I can use the zoom servo.
I’m considering trying to find a manufacturer that can make these up for me properly, the converter should cost a lot less than $5.5k