Hello I’m a DP based in London. I’m receiving the new Kinefinity Mavo LF in two weeks and would like to use ACES for my workflow.
The manufacturer Kinefinity has not yet released an IDT for any of their cameras or a colorimetry data white paper.
They do have a neutral lut KC_NEUTM and this can be found in any of the Dropbox folders from official footage on their website.
I’ve already received some suggestions for a workaround:
Use one of the slog IDTs (as stated in the forum here (https://cml.news/g/cml-post-vfx-aces/topic/23534443#264).
Greg Boyle said the Sony Slog IDTs look rubbish.
I was thinking maybe an Arri IDTs would work? On the Mavo review by Newshooter, Matt used an Arri rec 709 Lut, the waveform matches fairly closely. Also Ben Allan ACS CSI created a Kinefinity LUT that doesn’t so aggressively crush the blacks and mid tones. This LUT Matt said was a lot nicer to use than Kinefinity’s own LUT.
Use one of the kinefinity LUTs to get to a neutral Rec709-ish image and then use inverted ODT + inv RRT to get to ACES.
Could implement this in Adobe After Effects with OpenColorIO. They have some generic IDTs. If it’s working out, can then export the sequence in OpenEXR ACES 2065-1 from after effects to the grading software
In theory, a cDNG with the correct metadata in it should effectively contain its own IDT. Would a single DNG have the metadata?
Appendix B: IDT construction from
Captures of Target Material - from the ACES IDT manual (https://www.oscars.org/science-technology/aces/aces-documentation)
Nucoda has IDT support for non aces images - can convert images that are not in aces colorspace.
Any thoughts on any of this? I’ve emailed Kinefinity for an IDT, will report back if I make progress. Thanks for your help!