balazer2, I think I understand your opinion and reasoning.
Sounds similar to the position of people shooting and editing in HD even though their camera is 4k capable.
Maybe not exactly the same, but similar. It definitely is a valid point of view.
However, what about the point of view of using your equipment to the best of it's abilities ? Plus, unlike 3d, 4k UHDTV looks like it will become firmly established. Technology has brought costs down and looking at what is being sold, HDTV's appear to be outnumbered by 4k UHDTV.
Using the sgamut3.cine color mode, I am not seeing the odd color shifts you mention. With sgamut and sgamut3, yes, but not with sgamut3.cine. It kind of follows with what the articles are stating.
It comes down to accuracy, range, and process.
S-Gamut3.Cine captures a wider range of colors than an sRGB monitor can display. If you have a wide-gamut monitor supporting Adobe RGB or DCI-P3, sure, in theory you can take the image from your camera and display it on your monitor, and faithfully represent all of the colors, including some super-saturated colors that an sRGB monitor cannot display. But what process will enable that? Sony doesn't provide any look-up table to convert from S-Log3/S-Gamut3.Cine to Adobe RGB or DCI-P3. Your video software doesn't have the means to do it. ACES can do it, but that's beyond the scope of this discussion.
Sony does provide an S-Log3/S-Gamut3.Cine to Rec.709 transformation. The output of that transformation will exhibit accurate colors on a standard sRGB monitor.
But we know there are big drawbacks to using S-Log3 on the Sony Alpha cameras. The display will exhibit very low contrast, making it difficult to set the exposure. If you don't set the exposure just right, you will get a very noisy image. And the 8-bit recording will mean banding in skies and walls and anything else with a smooth color gradient.
If you really need the wide gamut and HDR performance of S-Log3 with S-Gamut3.Cine without the drawbacks of the Sony Alpha cameras' 8-bit recording, you need to step up to a proper cinema camera like the FS7. That's a whole 'nother level of expense and complication.
So you want to use Cine1 or Cine2 with S-Gamut3.Cine, to avoid the problems of S-Log3. Well now you have a new problem. You have chosen a totally non-standard combination of gamma and color modes. There's no look-up table you can download anywhere to transform that to sRGB, Adobe RGB, DCI-P3, or to anything else.
You can try to do the transformation by hand using whatever color tools are built into your video editing software. But I'll tell you right now, it will be more work than is necessary, and the colors won't be accurate. The camera is looking at that red object and saying "I think that object should be this exact shade of red" by assigning some numbers to it. And you are saying "I don't care what shade of red you think it is, silly camera, I'm just gonna fiddle with these dials until it looks nice to me". You might get the reds looking nice that way, but you won't get the blues and the greens and the yellows looking right also, unless you do a lot of tedious adjustment to all of them.
You might be satisfied working that way, but I'm telling you, it will be a lot easier and colors will be much more accurate without any fiddling if you use Cine1 or Cine2 with Pro color. When you set your camera that way, the numbers generated by the camera will be very close to the numbers that an sRGB monitor expects for each of those colors. You do need to do a bit of adjustment for Cine1 and Cine2, but only on the level ranges, to bring the contrast up to where it should be. The saturation and the hues will be spot on. Cine1 and Cine2 are definitely worth it for the added dynamic range they give you, if you are willing to do a small amount of adjustment in your video editing software.
If your display is set to DCI-P3 while everyone else's displays are set to sRGB, they won't see the same colors that you did after the video is uploaded to YouTube. The difference will be significant. If you want other people to see your video's colors as you intended for them to be seen, your monitor needs to be set the same way as everyone else's. Of course it doesn't guarantee a perfect match. It's only as accurate as the capability and calibration of each different monitor. But if they're all set to sRGB, at least they will be pretty close in most cases.
Yes, S-Gamut3.Cine can capture a wider range of colors than what Pro can or that an sRGB monitor can display. Capturing and displaying that full range of colors can give you an image that is more true-to-life, if they are displayed accurately. But those colors outside the sRGB gamut aren't especially common. If you look around at everything in the room with you now or outside, very few of those things have colors outside the sRGB gamut. And for the few things that are, if you pushed those colors inside the sRGB gamut so that you could display them on an sRGB monitor, the difference would not be very big at all. You probably wouldn't even notice.
So you can preserve the colors of those very saturated objects, but doing so means none of the colors will be displayed accurately, not on your wide-gamut monitor, and not on everyone else's sRGB monitors. That's your choice. Personally, my priority is to get colors correct for the 99% of things I shoot before I worry about the 1% that falls outside of sRGB.
Now please don't ask about this again until you try it out for yourself.
