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Dear creative colleagues, A6300 is optimized. It took a while. 
 
With this camera I expanded the analysis to further reduce banding. Primers are now designed for Cine4 and S-Log2 gamma. The new approach was successful. S-Log2 now has dramatically reduced banding and with Cine4 it is not an issue.
 
With this approach the following requirements are necessary to allow Primers to optimize your camera:
 
Two picture profiles:
 
1) 
 
Gamma: Cine4,
Color: S-Gamut3.Cine
Saturation: 20
Black gamma:wide, level +3
Knee: mode manual, point 75%, Slope +5
 
2)
 
Gamma: S-Log2 gamma 
Color: S-Gamut3.Cine
Saturation: 25
 
I put modded Cine4 on PP1 and modded S-Log2 on PP2 for more practical shooting. Modded Cine4 will be fine for most cases and with Primers holds most of DR well, and S-Log2 is useful when you need that extra stop, such as exterior highlights shot from the interior. 
Cine4 on ISO250 gives a practical switch to PP2 to S-Log2 at ISO800 without having to compensate with f-stop. 
 
All Primers for A6300 are color neutral, each optimized for a different scene light values and feel. From lower to higher contrast. If you want higher contrast, make sure you use a dedicated Primer for that, it achieves that differently than with typical post tools. All color manipulations in post shoud be done AFTER the Primer. You can compensate the shadows and highlights, colors have to be intact for the Primers to optimize the response.
 
Few examples with medium contrast response Primer, XAVC-S, shot in 1080p: 
 
 

 

 

 

 
There are a few more examples on the Primers page. 
http://omeneo.com/primers/
 
 
 

Few examples when the circus starts. This is with one generation loss from frame grabs taken from the video then pushed, in Resolve results are better. Intentional approach to show few principles happening and why all the fuss.
A6300, 1080p XAVC-S, 1:1 crop
First example - direct frame grab from S-Log3, S-Gamut3, taken into Photoshop with contrast and saturation
Second example - same frame grab with test Primer applied, nothing else.
 


 
Notice how the second image almost looks like it has been blurred due to more gradual transitions in between. Also, notice how the second image although has more saturated and "healthier" blues has reduced compression visibility due to finer transitions.  This is because the signal has been "ironed" on micro level, to fix the hue/saturation/luminosity offsets which, once enhanced in color correction, increase the visibility of compression.
This is the example when Primers help in this context. In some cases the results are the same, depending on the amount/type of compression artifacts. This is the third benefit of Primers. That particular compression related part wasn't planned, I discovered it through parallel tests later.
 

Sure, as soon as the time allows it.
I'm waiting to get my hands on RX10M2...all cool.
Yup, hoping the increase in recording quality is being considered. I'm doing my best to improve the results based on what is possible.

Hey Oliver,
These Primers are for S-Log2 and S-Gamut and A7R2 color response. A7SII is best used with S-Log3 and S-Gamut 3 and requires a set of Primers specifically designed for that log coding and that color space and its specific tonality distribution. In the works.
I had little WB offsets but that is easily fixed. What Primers fix...isn't. And that's just a part of what they do.

 
 
 
 
http://omeneo.com/primers/
 

Hi guys. I made these.
Hey Don, 10 LUTs in the package are color neutral. P01 Base is most subtle and best for further grading. P02-P10 are using specific gammas and very subtle color compensations optimized for different scenes, based on how the sensor responds. So primary color correction with this is set to minimum.
3 Primers (P11, P12, P13) are using an analog feel and are designed based on film photo prints, to allow a photographic aesthetic and feel in today's advanced camera in motion imagery. You may consider these as a free bonus. I made them initially for myself while testing A7R2 and playing with photographic prints, but threw them in the package for others as well. P11 also has neutral colors but with film gamma response and closer color behavior.
As for color modes you mention, any color mode you choose has color offsets throughout the range. Slog and S Gamut have the highest, but offer a wider captured range from the sensor. By simply tuning those channels you are not correcting those very specific offsets but the overall image and in camera especially it is done in far lower precision than 3DLUT does. This is much more complex than it may seem just on few frame grabs and quick and easy route cannot achieve this. It goes much much deeper and it took a lot of time and work.
 
 
http://omeneo.com/
 
 
 

Hey Dan,
Primers correct the fixed offsets of the camera, deep within the signal and do that with S-Gamut. Additional WB offsets which result from that are taken care of. AWB camera function is another thing and has no relation. Other color profiles also mess up colors but in a different way, and all of them make the footage look very "digital" due to the way cameras of that type process the signal. Primers help with that and shape the image in a different way. One on their purposes is to correct the image, another is to reduce the digital feel. That is done through a number of methods I had to develop from scratch.
Another thing that other camera profiles do is reduce the DR. Primers don't. Another thing that camera profiles do is enhance the effects of 4:2:0 sampling. If you look closely at the footage shot with one of the picture profiles you may notice aliasing edges of strong saturated colors, as a result of in-camera processing boosting 4:2:0. That is reduced with Primers.
Regarding banding, that is a general problem with log + 8 bit 4:2:0 + h.264. I tested A7R2, A7S1 and currently working on A6300 and all three exhibit the same issues. Banding here and there and sometimes blobs of macroblocks having a party. That's the h.264. Log itself is not an issue, compression is. S-Log3 works nicely as well.
The issues mostly come from unexpected scene-dependent camera compression.
Going through your list:
1) Taken care of
2) Taken care of
3) Taken care of
4) Partially taken care of. Tonalities are ironed. The rest is a moving target and mostly depends on what a camera decides to throw away with compression. One cannot fix what isn't there.
I've had clean blue skies on tests, I've had minimal issues and I've had a circus, with clouds especially and around branches with clear skies behind, on all three cameras so far, and it is there in untouched XAVC-S, regardless of the under exposure or rich exposure, and exists regardless of later image manipulation, so that is out of reach for the transforms and up to Sony to fix. Much of the scenes work nicely with Primers even in XAVC-S. I do initial tests on XAVC-S to see the worst outcome. What doesn't work, has very little to do with Primers, they may just make the issue more visible, in which case they do not have to be applied in post and can be seen on the set with a 3DLUT capable monitoring solution.
That is why it is recommended on the Primers page to go with external recorders and Prores and 4:2:2 out and the issues are minimized. Today Prores recorders are much more accessible and those combined with Primers take the camera on the next level.
It is not a "simple LUT". Nothing about them is simple. A lot of time and work went into this, with N-revisions, custom developed analysis, optimization and testing methodology, inherited, adapted and further developed from broadcast and film post experience.
A7S1 Primers are done and available on the page, working on A6300 at the moment.