Sony FX3 S-Log3 Color Grading in DaVinci Resolve

The Sony FX3 has become one of the most common cinema cameras on commercial, branded content, and independent film sets, and its S-Log3 footage grades beautifully when it is handled correctly. The camera records a flat, wide-latitude image designed to hold highlight and shadow information, but that flat image only becomes a finished picture once a colorist applies the right color management, contrast, and look. This guide covers how we approach Sony FX3 S-Log3 color grading in DaVinci Resolve at our Los Angeles finishing studio.

Start With the Right Color Management

The first decision is how Resolve interprets the footage. S-Log3 paired with S-Gamut3.Cine is the most common FX3 setup, and it needs to be tagged correctly so every downstream tool agrees on what the image is. Whether you use DaVinci YRGB Color Managed, ACES, or a manual Color Space Transform node, the goal is the same: convert the camera's log encoding into a working space where contrast and color adjustments behave predictably, then map to the delivery standard at the end of the chain. Skipping this step and simply dropping a LUT on raw log footage is the most common reason FX3 images look muddy or oversaturated.

Know Your Base ISO

The FX3 uses a dual base ISO system in S-Log3, with a lower base for normal lighting and a much higher base for low light. Shots recorded at the high base ISO carry more noise and slightly different shadow behavior than shots at the low base, so mixed footage in a single scene often needs separate handling. Ask the cinematographer which ISO each setup used, because it directly affects how aggressively you can lift shadows and how much noise reduction the shot will need.

Build the Grade in Layers

A reliable approach is to balance first and stylize second. Set exposure and white balance on a primary node, build contrast with a curve or the log wheels, manage saturation so skin tones stay believable, and only then add a creative look. Keeping the technical balance separate from the creative look makes revisions fast and keeps the grade consistent from shot to shot. For more on the difference between those stages, see color correction vs color grading.

Manage Noise and Compression

FX3 footage is typically recorded as 10-bit 4:2:2, which holds up well but can show noise and banding in lifted shadows and smooth gradients like skies and walls. Apply noise reduction early in the node tree, before heavy contrast, and add a light grain at the end if you want texture back. Our guide on noise reduction in color finishing goes deeper on this step.

Protect Skin Tones

Skin is the first thing an audience judges. S-Log3 footage can drift toward green or magenta depending on lighting, so we use the vectorscope skin tone line and qualifiers to keep faces consistent across a whole project. See the discipline of skin tone for our full approach.

Deliver a Look That Holds Up

Once the grade is approved, deliver to the correct color space and format for the platform, whether that is Rec.709 for web and broadcast, HDR for streaming, or a DCP for festivals. If you are shooting on a Sony FX3 and want a professional grade, get in touch with our Los Angeles studio.

*Coloring Book is a Los Angeles–based color finishing studio founded by cinematographer and colorist Alexander Lakin. Learn more at wearecoloringbook.com.*