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:

• Dials in exposure for faces first (skin around 60–65 IRE), so tones look rich without heavy grading
• Uses controlled contrast and soft lighting to let S‑Cinetone shine, instead of trying to “fix” it later
• 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?