S-Cinetone performs best indoors, in low-key lighting, shooting human faces, with exposure that are more suited to "cinema" style shooting rather than broadcast. If you put whites up around 90% where they usually need to be for typical broadcast, sports, corpporate, etc., the highlights become easily blown out and the color saturation suffers dramatically. Very ugly. But for certain kinds of interviews with controlled lighting and contrast, drama, etc. S-Cinetone can be fine. But I would also argue that S-Cinetone can almost always be improved upon in post, thus negating its purpose of providing a very good WYSIWYG look. So if you have to grade anyway (or should if you care enough) why not shoot with S-LOG3 and capture the maximum quality image for use in post.
It all depends on what you expect from the camera. I don't shoot feature films or drama, I shoot for TV, and the best choice for me on the FX6 is S-LOG3.
Got it.
Thanks Doug, very useful advices.
S-Log3 looks fine also for me. I've time to play with post processing. Currently my main issue is to adjust the white clip point during the capture (with the reg709 LUT for the display) and what's the best place for the location of the delog in the post processing chain, to get the best dynamics. Not completely clear on that. Seems I get the best results if the delog is at the beginning of the chain, but with just a gain adjustment before to adjust the white clip separately for each clip. I need more practice on that.