Identify the deliverable
Separate encoded S-Log3, RAW originals and already-treated intermediates. Note any transforms applied in proxy generation.
Keep an FX5 post-production handoff clear by separating encoded S-Log3 footage from RAW before choosing the conversion and creative finish.
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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 production handoff can contain camera originals, proxies and rendered intermediates. Those files may not share the same colour state even when they all originate from an FX5 shoot.
This guide concerns encoded S-Log3 footage. Sony also documents an internal RAW option on the FX5; that material needs an appropriate decode and colour-management path. Applying an S-Log3 conversion to every file with FX5 in its name is not a reliable workflow.
ToneLab’s public support list does not currently name FX5. Confirm the intended gamma-and-gamut input with ToneLab before using Chroma as the technical converter. After the input is settled, use a reference shot and clear handoff notes to carry the creative direction between editors and colour work.
Agree the input before sharing the look. A proxy, a LOG original and a rendered preview may need different handling.
Separate encoded S-Log3, RAW originals and already-treated intermediates. Note any transforms applied in proxy generation. Confirm the exact FX5 input with ToneLab. Do not infer a dedicated preset from other Cinema Line models on its list.
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.
Separate encoded S-Log3, RAW originals and already-treated intermediates. Note any transforms applied in proxy generation.
Confirm the exact FX5 input with ToneLab. Do not infer a dedicated preset from other Cinema Line models on its list.
Use a representative shot to set the neutral baseline and intended palette, with gamma and gamut recorded in the handoff notes.
Compare the finished timeline against the reference after relinking originals. Check that a proxy transform was not applied again.
The correct transform depends on the file’s current colour state, not merely the camera that captured it.
RAW processing and encoded LOG conversion are different stages; do not hide that distinction inside a shared preset.
The public list does not name this model. Resolve compatibility before basing a production pipeline on a Chroma conversion.
No. It covers encoded S-Log3 footage. RAW needs its own supported decode and colour-management decisions.
The public camera list checked for this guide does not. Confirm the exact FX5 gamma-and-gamut input before relying on Chroma for conversion.
Check whether the proxies contain a baked-in display transform or look. They may not share the original file’s LOG state.
Include the source gamma and gamut, any previous transformations, a reference frame and the intended output. That makes the look reproducible across the handoff.
Profile reference: Sony FX5 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 FX5 S-Log3 colour grading · Sony FX5 LUT workflow · Sony FX5 DaVinci Resolve · ToneLab Chroma Sony FX5 · Sony FX5 S-Log3 to Rec.709 · Encoded video and RAW handoffs
Affiliate disclosure: This page promotes ToneLab Chroma through my partner offer. If you purchase through my affiliate links or partner route, I may earn a commission at no additional cost to you. ToneLab has provided me with lifetime access to Chroma Pro as part of a brand partnership. Check current compatibility and offer eligibility before purchasing.