This video shows the same True RAW CinemaDNG recorded data processed bypassing the DNG header through simulation of the KineMINI 2K (tm)'s monitoring path using the expermental Sony (tm) S-Log(1), S-Log2, S-Log3, Arri (tm) Log-C, Canon (tm) CLOG, and Kodak Cineon (tm) Film Log standard (LK5) curves (monitoring path table files). So far only the gray scale is being emulated based on published documents from each camera maker about their camera's Log encoding curve. Matching their camera color gamut for saturation and hue etc. would be done later with a special "emulation" 3D-LUT *.cube file between the cameras gray scale (ISO normalization) tables (KineLOGC.LK5, KineLOGS1, KineLOGS2, KineLOGS3, KineLOGN, KineLOGF etc.) and the planned "user look" 3D-LUT *.cube file (nromally Rec.709 to Rec.709 for user looks, but they can also mate with the Log types as the emulation cube can have any output needed, its input would match the monitoring look group (gray scale emulation and ISO normalization) selected. What you see here is the same True RAW data and matrix, the difference in each instance of the same shot is how the camera makers (or mine) *.cube file transforms the Log data type to Rec.709 or full range, so one can see the "inverse" of the saturation of each makers camera that way since one would expect that their own 3D-LUT would make a usable Rec.709 conversion to some extent, in other words, the more desaturated the simple result from a makers 3D-LUT the more saturated you would expect ther camera to have been, so that gives some insight as to how the "emulation" cube files needed for the KineMINI 4K (tm) will need to be designed, which is the next step in getting the emulation in its monitoring path to be more accurate, and so pass that accuracy on to the end results via KineSTATION when monitoring matching burn-in is selected for RGB or YUV output etc.
If you own a KineMINI 4K (tm) and want to try these expriemental look groups you can contact me and we can talk about that. The reason KineMINI (tm) can emulate more than one log format is that it records True RAW 12bit linear sensor data uncompressed, from which any additional processing can be applied since linear sensor data holds ALL the image tones, unlike cameras that record log data where some tones are lost in log conversion and recording in reduced bit range.