Sort the day
Group S-Log3 clips separately from other profiles, then organise daylight, indoor and evening scenes.
Keep an A7 IV event edit coherent across daylight, indoor light and mixed recording profiles, with a clear S-Log3 starting point.
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See the video for a guide to the general conversion and creative-grading process. This is a shared workflow demonstration; the camera-specific guidance is below.
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An event edit can arrive with daylight arrivals, indoor speeches and evening details in one bin. If the camera settings changed during the day, a single bulk conversion is an unreliable starting point.
Sort the A7 IV footage by recorded profile and lighting setup. S-Log3 clips need the appropriate gamma and gamut interpretation; clips with a baked-in treatment need their own handling.
Choose references for the main parts of the day rather than forcing every scene to match the first outdoor shot. Keep faces believable under mixed light and use a restrained creative direction to connect the story.
Build a consistent film from the day’s different lighting conditions, rather than correcting the whole day as one shot.
Group S-Log3 clips separately from other profiles, then organise daylight, indoor and evening scenes. Match S-Log3 and its recorded gamut to the technical conversion. Avoid converting an already-normalised file twice.
This sequence is designed for an SDR Rec.709 finish. Account for any existing colour management before applying a technical conversion; the same LOG-to-display transformation should not happen twice.
Group S-Log3 clips separately from other profiles, then organise daylight, indoor and evening scenes.
Match S-Log3 and its recorded gamut to the technical conversion. Avoid converting an already-normalised file twice.
Balance representative shots for the ceremony, speeches or other major sections before matching the surrounding footage.
Use a compatible shared look with local trims. Review skin and white clothing at transitions between lighting setups.
Choose for the gamma and gamut recorded, rather than relying on a camera-name label alone.
Indoor warmth and outdoor daylight can coexist in a consistent film when faces and neutral references remain controlled.
A reusable structure can reduce setup time while leaving exposure and mixed-light corrections in your hands.
Only after confirming that the selected clips share the intended input profile and gamut. Camera name alone is not enough.
Mixed light can create different casts across the frame. Balance by scene and assess skin separately from the background.
No. Preserve the lighting mood while controlling distracting inconsistencies at the edit points.
Yes. Establish correct input handling for each source, then match exposure, white balance and contrast before sharing the creative direction.
Profile reference: Sony A7 IV documentation. Check ToneLab’s current compatibility information for the exact input and installed version.
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Start with the correct S-Log3 input, balance the shots and choose a look that fits your film.
Sony A7 IV S-Log3 colour grading · Sony A7 IV LUT workflow · Sony A7 IV DaVinci Resolve · ToneLab Chroma Sony A7 IV · Sony A7 IV S-Log3 to Rec.709 · Hybrid event films
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