Hi Jamie,
First - your output to SR1 Deck (or Codex, or KiPro, or AJA Kona 3, etc.) is called the 'REC OUT' and it is always tied invariably to the color space / gamut setting you select (either Rec. 709 or Log-C).
There is also a 'MON OUT' which can independently be set to display Log-C or Rec.709 - however, this is NOT suitable for actual recording, as it will contain the camera settings overlay, and is also known to be a clipped output with less information than what the 'REC OUT' or the internal SxS cards are actually laying down.
You can set the 'MON OUT' for Rec. 709 and simply daisy chain off the onboard monitor, and through other on-set monitors. But you can't monitor the 'REC OUT' in anything other than Log-C, when you're recording in Log-C.
You could also use a LUTher box to create a LUT that is applied to the 'REC OUT' AFTER the record deck. Unless the post house is using a LUTher system as well, I think this is a very unnecessary. You could also use 3CP software to generate a LUT post-record deck, but unless you want the client to monitor from a computer monitor (i.e. Apple Cinema Display), you would need a substantial I/O rig to feed an SDI monitor; also probably unnecessary.
So what is my actual recommendation, assuming the aforementioned 'right' ways to do it are not in the budget or the cards? Get ready to cringe - but this is what I would do: simply re-calibrate your monitor. Crank up the saturation, crank up the contrast, and 'fake' a Rec. 709 look (do this by shooting a Rec. 709 color chart and measuring your results as accurately as possible, of course!). This solution is easy, free, and since you're recording the Log-C signal anyway, it won't have any real consequences (other than the client thinks the footage looks great on set!).
Just make sure the DP and the Director are both on board, so that they meter and judge accurately by the Log-C signal, and not by your out-of-whack monitor cheat. Hope this helps...
Best,
- Jordan
Jordan Livingston
Digital Imaging Technician
www.DIGILOID.com
