@CF - I think you are completely missing the point of Cinelog. Several in fact. Which is odd, because I explained them clearly.
Of course, working with the raw digital negative DNG will give you the most options and the best quality. I even said so clearly in my reply to you
BUT
How are you archiving your footage? Are you storing all your raw files? Are you working on features running into hundreds of GB or more of storage for your DNGs? Have you got a very fast machine to debayer raw in realtime or are you using proxies? (another step). It may come as some surprise to you but the majority of people here are not working on the latest Mac Pro with huge raids and infinite storage. My guess is that if anything you are probably working with Cineform raw!? Which I even recommended OVER AND ABOVE any other method including Cinelog but Cineform Raw also comes at a price.
You obviously have no grasp of the intended use of Cinelog or those who will use it. As I also said in my reply we do have several professional users (DITs, colorists and DPs) who do know their subject and likely understand a considerable amount more than you.
Not everyone is comfortable working in Resolve but Resolve Lite (which is FREE) can be utilized to debayer and render much faster than ACR meaning you can work with the next best thing to the raw DNGs in an EFFICIENT codec in whatever NLE you choose and usually in realtime on a lower spec system.
No we can't presently do anything about debayering in Resolve but we have a fully featured DIT app coming that will
To insinuate that our work is there purely to make money from users who do not poses certain knowledge or skills is highly ignorant, insulting to our customers and bordering on slander! Just because you have a system that works for YOU does not mean it will work for everyone else. The same can be said of what we offer but oddly enough, as I pointed out in my reply to you, our customers
which includes professionals are satisfied with what we offer.
I suggest you look beyond your own blinkered view and 'post-production' environment and understand that there is in fact a big demand for what we offer, just as there is for what VisionLog and others offer. Why do you think ARRI, Sony, Canon, Blackmagic, Red (I could go on) have Log gamma recording in their raw capable cameras? WE cannot record to 10bit ProRes HQ with a log profile in-camera but I can tell you one thing. It's probably the #1 feature request in DSLRs and just as with most DPs who shoot on the big cameras MOST WILL SHOOT LOG encoded ProRes or DNxHD (some even record to Cineform
). While we cant record compressed in-camera we can do it in post in a controlled way (exposure, white balance happens BEFORE the Log transform) and have all the space and timesaving benefits of log encoded media. No it's not 14bit raw anymore but it grades very nicely
plus you can store the files easily! Oh, did I mention realtime playback, no need for proxies, easy set-up an rendering and technical support?
Oh, just saw your comments about LR and DaVinci Resolve - That says a lot
Have a nice evening.
