Here are the revised settings for Sony S-Gamut3.Cine/S-Log3 and ProRes 4444 XQ Rec.2100 ST2084 (from ProRes RAW), the chief difference being no more input or output DRT.
Sony Color Management Updates
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The Daejeon Chronicles 
Hey Jon,
What Compressor settings are you using to get the Pro Res Raw file into Resolve, or are you using RawConvertor?
Tyler
I’ve tried all three methods – Compressor, RAW Convertor and Assimilate Player Pro. The workflows can be found here. https://daejeonchronicles.com/2021/04/30/comprehensive-workflow-sony-a7s-iii-s-log3-hdr-10-in-davinci-resolve-studio-17-part-iv-raw/
Hey Jon,
Of those three mentioned methods, which would you recommend?
Tyler
Raw Convertor first, Assimilate Player Pro second, Apple Compressor last. Only Raw Convertor and Assimilate allow you to work in scene referred.
If you’re grading on your MacBook Pro 14 screen, what settings are you using?
I grade on both the M1 Max 16”MacBook Pro & LG CX OLED. The workflow can be found here: https://daejeonchronicles.com/2021/03/02/comprehensive-workflow-sony-a7s-iii-s-log3-hdr-10-in-davinci-resolve-studio-17-part-i/