They're particularly useful using older Ninja products. No matter what, I could not get the footage externally to match the internal footage.Non-Legalized: Applied my Atomos Legalize (2020) LUT and the footage matched immediately.Legalized: Footage matched once I applied the Color Space Override function to the Atomos footage (and set it to Rec.Both of these images have Canon's stock Clog3 to WideDR LUT applied as well.Non-Legalized: Applied my Atomos Legalize (709) LUT and the footage matched immediately.Legalized: Footage matched immediately, no adjustments needed.
I stacked the clips on top of one another and tested only Clog3. which color space and color matrix should I use in the EOS R5 in order to record with the Atomos Ninja V? I recall reading somehere on the web that BT/Rec.2020 is designed for HDMI recording and "Cinema Gamut" is for internal recording, so, after all this. But I'm not sure if this is the right way. external is the same, always enabling the "full data levels" in Resolve. If I choose BT.2020 with C-Log 3, the result from internal vs. the external footage doesn't match at all, the external footage looks more yellow. Resolve has some options to automaticaly transform color space and gamut from LOG footage while using their own color science, the "DaVinci Wide Gamut", the only three Canon "Input color space" options available are "Canon Cinema Gamut/Canon Log", "Canon Cinema Gamut/Canon Log 2" and ""Canon Cinema Gamut/Canon Log 3", so I suppose the right combination would be the last option, considering that the EOS R5 only has C-log 3, but for some weird reason, the internal footage vs. The quiestion is, Which one should I use with the Atomos Ninja V? Now, the "Color space" and "Color Matrix": The EOS R5 has some options within the C-log menu, the "Color space" which shows only "BT.709" if the "Color Matrix" is set to "Cinema EOS Original", the "BT.2020" while using "C-log" combined with the "Neutral" Color Matrix, and the "Cinema Gamut" option which becomes available while using "C-Log 3". I avoid "legalizing" the video in the Atomos because it reduces the range of the video. full/non-legal range, this is fixed by avoiding Adobe Premiere and using Davinci Resolve instead, and then, choosing "Full" on the "Data levels" within the "Clip Attributes". This first one has to do with legal/video/partial range vs. I jumped into the LOG hype some time ago, with the 5D Mark IV, the EOS R and now with the EOS R5, but I have found some caveats while using the Atomos Ninja V.
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