Re: Getting that S-Log exposure
 

Adjusting the monitor is in my opinion a fair option and really does no harm, after all it's actually not all that different to using a LUT on the monitor out. The technical method is different but the end result is very similar. You just absolutely must remember that the monitor is no longer calibrated. I normally stick a piece of camera tape across the top of the monitor with bold writing saying not calibrated or words to that effect.

Re: Getting that S-Log exposure
 

I asked my DIT about the metadata today but forgot his answer.

The sub-$1K on-set LUT creation setup is pretty impressive, although now that I've seen it with control surface versus mouse, it would be hard to go back the other way for functional speed. It will be interesting to see if Blackmagic introduces some improved version of their included utility with the HDLinks that is based on the Davinci interface--would seem to make sense.

Bruce, glad I could help pull you out of your client-induced funk! Perhaps you can cheer yourself up further by watching (or re-watching) that old classic short "Truth in Advertising" and the later installments "The Reel Truth"...

Re: Getting that S-Log exposure
 

These two seem to be the best and most affordable options at about $1,400 USD ;

Tangent Wave http://www.bhphotovideo.com/c/product/571637-REG/Tangent_Devices_WAVE_Wave_Panel.html
Avid Color Avid | Artist Color

both seem to be supported by most software packages including LiveGrade.


And I'll just be turning that type of work down as I did for decades previously. I'm waiting for my new MBPro to arrive next week with Thunderbolt and USB 3. I've already got the Sonnet SxS Thunderbolt reader for Alexa and F3 data, a CF / Expresscard 34 reader for NanoFlash footage, and WD GoFlex Thunderbolt adapter for simple but fast transfers - no more OT from USB 2 waiting though.

Agree on BM making a more all-inclusive package for this utilizing their already existing hardware.