Sony Color Management Updates

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.

Only restrict output color space to P3-D65 if the mastering display is calibrated to P3. Set ‘HDR mastering is for’ according to the capabilities of the mastering display.

4 thoughts on “Sony Color Management Updates”

Add yours

Tyler says:

January 19, 2023 at 5:11 pm

Hey Jon,

What Compressor settings are you using to get the Pro Res Raw file into Resolve, or are you using RawConvertor?

Tyler

Reply
1. jonpais says:
  
  January 19, 2023 at 5:17 pm
  
  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/
  
  Reply
Tyler says:

January 19, 2023 at 6:08 pm

Hey Jon,

Of those three mentioned methods, which would you recommend?

Tyler

Reply
1. jonpais says:
  
  January 19, 2023 at 6:11 pm
  
  Raw Convertor first, Assimilate Player Pro second, Apple Compressor last. Only Raw Convertor and Assimilate allow you to work in scene referred.
  
  Reply