The whole S-Gamut3.Cine S-Gamut3 thingy is kind of a mess, at least when it concerns ProRes RAW. If you shoot XAVC internal and import the clips into Resolve, it doesn’t recognize the color space at all, at least not with our a7s III. And when recording ProRes RAW externally with the Ninja V, Final Cut Pro stubbornly recognizes the footage as S-Gamut3 regardless of how you monitored with the Atomos. At least we know that gamut isn’t baked into the files, which is a good thing, right? Then, after transcoding to ProRes with Apple Compressor and selecting S-Gamut3.Cine, the metadata still says S-Gamut3 in the Invisor app. And, to top it all off, when returning to the footage a year or two later, impossible to figure out which shots were captured in one or the other color space (except by toggling back and forth while looking at the color, which is quite different between the two). God only knows how Nikolaj Pognerebko’s RAW Convertor is handling gamut – there’s no way to be sure, short of asking the developer. As far as S-Log3/S-Gamut3 goes, it’s not certain that the a7s III sensor can even see the entire color space. Several of Sony’s other cinema cameras couldn’t, in which case, it’s just wasted data. And, as everyone knows, we like to use LUTs from fime to time, and most are for S-Gamut3.Cine. Still, even though working with ProRes RAW was a PITA, we miss the a7s III.
Art Adams had this to say about choosing gamut:
“While the temptation to use full SGamut3 is probably overwhelming to some, it’s best to ask yourself (1) when will the extra color be displayable, (2) will your project still be marketable when that happens, (3) are you shooting anything that takes advantage of that color space, and (4) do you have the talents of a professional and expert colorist at your disposal. If not, SGamut3.cine is clearly the better choice. If your project has a long shelf life and would look great with rich saturated color then SGamut3 will protect all that, but you won’t be doing the Rec 709 or P3 grades yourself: you’ll need skilled professional help.”
Coming next: random thoughts on XAVC.
Didn’t I read somewhere that some of the S-log.cine something wasn’t actually a true log? The way Sony cameras produce the gammas and interpret color, I don’t know how their Venice was lifted off the floor.
This from Sony, ““S-Gamut3.Cine/S-Log3” is designed for more like pure log workflow. Color space is similar to negative film scan which is used for TV production, film out and digital cinema. Color reproduction is designed slightly wider than DCI-P3 to provide ample room of grading. Tone curve is more like pure log encoding characteristics preserving more tonal gradations in the blacks, and has good compatibility with Cineon workflow.
“S-Gamut3/S-Log3” is very close to camera native color, and is very good for archiving as a digital camera negative”. The shows I’ve seen shot with the Venice looked gorgeous.
Is there a problem with using Resolve “clip attributes” to change the gamut to Sgamut3.cine and the data level to full? If you recorded externally or internally to SLog3/sgamut3.cine then that is what was recorded regardless of whether the metadata agrees or not. Just change the clip attributes to match the actual colorspace. That doesn’t help you returning to the footage a year or two later if you haven’t remembered what it was but for now will at least be aligned with the luts you want to use.