How does Paul Rogers’s method for using S-Cinetone on Sony FX6 outperform other techniques?

Paul’s approach to S‑Cinetone on the FX6 is all about using it as a finished look, not a log replacement.

Here is how it stands out:

1. Dials in exposure for faces first (skin around 60–65 IRE), so tones look rich without heavy grading
2. Uses controlled contrast and soft lighting to let S‑Cinetone shine, instead of trying to “fix” it later
3. Treats it as a fast, reliable workflow for social/content work, reserving log for heavy color grades

What part are you most curious about: exposure, lighting, or color tweaks in post?