I have been doing a lot of research into the best gammas to use on the EX’s for different lighting situations. The cinegammas are designed for shooting footage that will be graded, the images they produce are not entirely natural looking, however they do maximise dynamic range by compressing highlights and at the same time allocating a large part of the recorded signal range to mid tones and shadow detail. This is why shadows can look washed out or milky. However this also gives you more to play with in the grade.

Cinegamma 1 is tailored for shooting bright scenes or scenes where there will be large areas of highlights. CG1 is tailored for maximum highlight handling with lower shadow dynamic range compared to CG3 and CG4.?Cinegamma 2 is essentially the same as CG1, except the overall level is reduced making it broadcast safe at 0db. Cinegammas 1,3 and 4 all record up to 109% at 0db and 104% at -3db.?Cinegamma 3 has strong highlight compression but the compression starts later than CG1 so it’s not as compressed as CG1. Midtones and shadows are stretched more than CG1. This gives more dynamic range to mid tones and shadows compared to CG1 at the expense of some highlight handling.?Cinegamma 4 is similar to CG3 but with the mid tones lifted still further so that it gives a brighter looking picture overall.

My preference is to use CG1 for outdoor, brightly lit scenes or scenes where highlight handling is critical. Then I use CG3 for indoor and scenes on dull days where extreme highlight handling is less critical, but shadow detail becomes more important. What I have also found is that when shooting interviews the cinegammas work best when they are slightly under exposed compared to standard gammas and then graded in post. If using cinegammas I tend to expose skin tones at around 60%.

Cinegamma 1 on the EX is the same as Hypergamma HG4 on the PDW-700, F900R etc and cineegamma 2 is the same as Hypergamma HG2. With CG1/HG4 : 460% D-range is compressed to 109%.