Sony S-Cinetone Workflow

Hey you,

Just got asked, if an upcoming shoot should be done in SLog3 or S-Cinetone.
S-Cinetone is unkown by me and I’m wondering how that affects the workflow.

I’m not sure if that’s indeed a new transfer function for OCN or more a monitoring color space for viewing purposes on set.

Has anybody experience with that? And is Flame capable of dealing with S-Cinetone?
Or is there any sample footage?

I hope, that with X-OCN you can still debayer to your preffered color space as usual so that it doesn’t change anything in the workflow.


If my memory serves me well, S-Cinetone is some kind of rec709. Shot in S-log if possible.

1 Like

Thanks. Yes, I told them to stick to SLog3.
But what do I do, if I still receive S-Cinetone?

Think of it as a pregraded sources.

1 Like

its a heavily SDR tonemapped display reffered space, they could have just called it Rec709 … but you know sony and their words 🧙‍♂️.