Group by input
Identify the FX30 LOG clips and their recorded gamut. Keep other camera sources in their own input groups.
Create a repeatable FX30 S-Log3 grade for short films, with deliberate shot matching before the creative look.
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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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A short scene can combine a wide shot, over-the-shoulder coverage and a close-up recorded at different moments. The grade needs to connect the light and colour across those viewpoints before a stylised palette can do its job.
Use the actual S-Log3 and gamut settings to choose the conversion. Then balance the coverage in context. A close-up may need a gentler contrast adjustment than the wide shot even when the recording settings match.
When the FX30 supplies a second angle beside an FX3, compare a shared neutral subject and skin under the same lighting where possible. Treat the match as a visual task rather than assuming the same brand and profile make the files identical.
The look gives a scene its character; shot matching makes that character survive the edit.
Identify the FX30 LOG clips and their recorded gamut. Keep other camera sources in their own input groups. Apply the corresponding technical conversion once, with the rest of the colour pipeline accounted for.
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.
Identify the FX30 LOG clips and their recorded gamut. Keep other camera sources in their own input groups.
Apply the corresponding technical conversion once, with the rest of the colour pipeline accounted for.
Balance wide, medium and close shots together, checking the cut rather than viewing each shot in isolation.
Apply a shared creative direction, then retain individual trims for faces, practical lights and background contrast.
A useful look should work across the scene’s wide shots and close-ups, with room for individual adjustments.
Correct the inputs first, then compare skin and neutral surfaces under similar light.
Reuse the scene treatment while keeping exposure and white balance corrections specific to each shot.
A creative look may be shared when both sources have been prepared for its expected input. Confirm each technical conversion and match the shots first.
Its light distribution and subjects differ from the close-up. Maintain scene continuity without forcing identical adjustment values.
It may copy settings that are wrong for another source. Check the receiving clip’s profile and gamut before reusing the conversion.
You can explore a direction early, but establish a reliable technical base and revisit the shot match under the final treatment.
Profile reference: Sony FX30 documentation. Check ToneLab’s current compatibility information for the exact input and installed version.
Find every camera in the ToneLab Camera Hub, or explore all Workflow articles.
Start with the correct S-Log3 input, balance the shots and choose a look that fits your film.
Sony FX30 S-Log3 colour grading · Sony FX30 LUT workflow · Sony FX30 DaVinci Resolve · ToneLab Chroma Sony FX30 · Sony FX30 S-Log3 to Rec.709 · Short films and second-camera matching
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