Identify gamma and gamut
Confirm S-Log3 and the colour gamut recorded on each FX2 clip. Keep other picture treatments separate.
Create an FX2 S-Log3 documentary grade that connects changing locations while keeping the recorded gamut and conversion route explicit.
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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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Documentary scenes move between available light, practical lamps and outdoor cutaways. A reliable grade starts by giving each location a coherent base rather than forcing every shot to resemble the opening scene.
Sony documents S-Log3 on the FX2, but ToneLab’s public list does not currently name the model. That is a compatibility gap to resolve, not proof that an FX3 preset is the correct FX2 input. Confirm the exact curve-and-gamut conversion with ToneLab before purchasing specifically for that purpose.
Once a supported input route is established, balance recurring people and neutral surfaces across the locations. Let a warm room remain warm if it belongs to the story, while removing distracting green or magenta casts from faces.
A documented recording profile and a confirmed plugin input are two separate checks.
Confirm S-Log3 and the colour gamut recorded on each FX2 clip. Keep other picture treatments separate. Ask ToneLab which exact input is appropriate for FX2 footage; the model is not named on the public list checked for this page.
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.
Confirm S-Log3 and the colour gamut recorded on each FX2 clip. Keep other picture treatments separate.
Ask ToneLab which exact input is appropriate for FX2 footage; the model is not named on the public list checked for this page.
Choose representative shots for the main settings and match faces and neutrals within each scene.
Use a restrained overall palette, retaining local exposure corrections and lighting differences that help tell the story.
The camera’s LOG label alone does not establish the complete input expected by a technical conversion.
Correct distracting casts while retaining the location’s recognisable atmosphere.
Do not treat support for another Sony model as a confirmed FX2 preset. Resolve that question before buying for conversion.
Yes. Sony documents S-Log3 recording. Confirm the accompanying colour gamut and the settings used for your footage.
It was not named on the public compatibility list checked for this guide. Confirm the exact input with ToneLab before relying on Chroma for FX2 conversion.
Do not assume that a nearby model name guarantees the correct input. Verify the conversion’s expected gamma and gamut.
Balance each scene first, then compare recurring subjects at the cuts. Keep intentional changes in atmosphere while controlling distracting casts.
Profile reference: Sony FX2 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 FX2 S-Log3 colour grading · Sony FX2 LUT workflow · Sony FX2 DaVinci Resolve · ToneLab Chroma Sony FX2 · Sony FX2 S-Log3 to Rec.709 · Documentary location matching
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