Sony saysВ the highlight contrast lowers gradually from 70% video level, and the curve retains a gentle slope all the way to the saturation level, in order to retain a degree of highlight contrast. With a low highlight contrast, S-Cinetone will have softer and lighter highlights, but higher contrast levels in low luminance levels will give you a more saturated look. The black level is lower than s709 and Rec.709.

It has high contrast tone in low luminance levels and low contrast tone in the high luminance levels. Credit: Sony S-Cinetone LookДЄccording to Sony, the base S-Cinetone curve is Rec.709 but adds some filmic qualities. While s709 was designed to not be the final look of the RAW footage, but rather serve as a starting point for color grading, Sony took the characteristics of s709 and created S-Cinetone, which provides images with a more cinematic look in tone and color for the video world than Rec.709.ДЄs Sony points out in the S-Cinetone white paper, S-Cinetone allows you to create richer content straight from the camera without needing to perform traditional color grading (though you still can). One of the first films shot on VENICE was The Dig by cinematographer Claudio Miranda.ДЇor RAW workflows, Sony developed the s709 LUT that has film-like characteristics to monitor the RAW look while recording. VENICE was introduced in 2017 with high-end production workflows in mind where there would be ample time to color grade RAW or X-OCN files in order to create cinematic images. However, the look of VENICE can only be really created with a VENICE, so the S-Cinetone has been tweaked to work with the different hardware found on the FX9, FX6, FX3, and Alpha cameras like the a7S III. S-Cinetone has been designed to mimic the incredibly popular look of Sony VENICE.

Sony lut