These tests were shot in a really rough and ready way in November 2018 to show the differences between shooting in video, film & braw modes
They were part of a live event at the Netherlands Film Academy for the NBF technical seminar at the IDFA documentary festival.
Guy Molin and I were trying to show why you should ALWAYS shoot RAW, BRAW CQ in this case. Grabbing the shots and immediately loading them into Resolve and grading live on a projected image.
The images below were output from Resolve 15.2.2 with minimum correction as shown. I was working in ACES cct using the relevant IDT as provided by BMD
Exposure was set using false colour in video mode as this was obviously going to be the most critical. This resulted in a stop of F19, looking at the offset of 18, or minus 7 from the base of 25, we were overexposed at F19 by almost a stop. Or .6 of a stop in film mode, or under exposed by over a stop in BRAW if you look at the relative settings required to get a matched 18% grey. All modifications to exposure of the BRAW images was made in the exposure setting in the raw files.
The highlight recovery option was used with the BRAW files and made a considerable difference.
Video at F2.8 offset 18
Video at F8 offset 18
Video at F19 offset 18
Film F2.8 offset -10
Film F8 offset 5
Film F19 offset 20
BRAW F2.8 -3.78
BRAW F8 -0.83
BRAW F19 +1.34