Mark Romero 2

If ALL the footage for a project is shot in the same gamma / gamut, then you can use the Resolve Color Management under the settings page to defacto change the color space and gamma.
I don't remember the color space transform node off the top of my head, but I would also suggest that you adjust the nits from the default of 100 to something more realistic (I use 350, which is about average for LCD displays, while some iPhones have displays over 500 nits). This will help you monitor your highlights better.
If you can't adjust nits using the node method, then you could use the resolve color management in settings and apply it globally, and then for any clips that are NOT in V Log, you could apply a color transform node to those clips to have their input values as REC 709 (or whatever other gamma / gamut they were shot with).

Does anyone else seem to remember that this question has popped up on here previously at some point?
As far as I recall, the general consensus was that you need to go into the Settings menu of the camera and make sure "Motion Cadence Colour Science Mojo" is set to ON.
Have a go with the Search option just to make sure I've remembered correctly though.

welcome @Rinad Amir~!! ? 
@kye is right, we should have t-shirts... its a pretty badass club ?
i cant actually *help* you with resolve like these other folks (lol), but i did make a short film with it and i love it – no way im going back to the alternatives!
im on the adobe $9.99/mo photoshop plan!!! i feel like im beating the system!!! ?
 

That looks awesome dude
 

If ALL the footage for a project is shot in the same gamma / gamut, then you can use the Resolve Color Management under the settings page to defacto change the color space and gamma.
I don't remember the color space transform node off the top of my head, but I would also suggest that you adjust the nits from the default of 100 to something more realistic (I use 350, which is about average for LCD displays, while some iPhones have displays over 500 nits). This will help you monitor your highlights better.
If you can't adjust nits using the node method, then you could use the resolve color management in settings and apply it globally, and then for any clips that are NOT in V Log, you could apply a color transform node to those clips to have their input values as REC 709 (or whatever other gamma / gamut they were shot with).

i just wanted to post Jasper's first (legit) snow pictures... he had so much fun today!!! ITS ALWAYS BEEN MY DREAM FOR HIM TO USE HIS SNOWSHOES AND ITS FINALLY HAPPENING
my angel ? thanks for the opportunity @thebrothersthre3







lut

 
 
 
 

I think Jasper should be in every thread.
 
What are Jasper's views on the Blackmagic Pocket 4K? Does Jasper think the superior image from BM beats the functionality of the Panasonic mirrorless options? 

Man, how one can go from a GH3 to a C200?! 
The usual suspects right now are the GH5/XT3/Z6, with the Z as the best true hybrid, maybe!

I struggled for ages with criteria that sound like they might be similar to yours.  In the end it came down to the Sony A7III, which has good AF and fast but expensive FF lenses, or the GH5 and 10-bit files with the reliability, lack of overheating issues etc, and pro features it offers but limited AF.
I ended up deciding that going to manual focus worked for me and my style of film-making, and because the IBIS is so great you can adapt old lenses and still get great hand-held footage, so I now have the GH5 and a cheap ebay vintage lens collection that is so large that I hide it from my wife.

@Towd you might be right that he's shooting an in-camera profile and just being careful to WB.  That would make his workflow even faster, which as @mercer points out, is exactly what you want to have from a business perspective.
In terms of getting good video from your Sony, if you can get a bit of noise into the footage before it's saved to the card then shooting 4K 8-bit and downscaling in post to 1080 may have almost the same benefits at having 10-bit.  I'd suggest dialling the NR as low as possible for this reason (assuming you haven't already).
The Sony cameras aren't the best for colours, but we're really being picky here, and they should be fine to replicate the efforts of someone who looks like they don't adjust WB in post at all.  
Considering this is for business purposes where simplicity is best, perhaps setup a test environment and start with the camera on the simplest settings possible.  4K with a standard colour profile perhaps.  Shoot it with proper WB across each of the profiles, then look at the footage and see where the problems are and what you might need to do to fix them, perhaps tweaking each profile to work out how good it can be in-camera, and only then if they don't work would you add in complexity of shooting in LOG and having to grade at all.  
If you can dial-in the right picture profile in-camera then editing 1080 and outputting 1080 with (maybe) a couple of effects or a LUT or power grade preset then that would be a much more effective workflow, and would allow you to deliver faster, book more clients, and get a pay rise  
I used to read audio technician magazines for years and the main theme in the magazines was that small business owners were always lusting after exotic microphones and luxury pre-amps when their clients don't notice and they haven't had a holiday in a decade and they should just take their kids to The Grand Canyon and watch a few sunsets with their wife.

Well I just had a chance to look at your videos @Mark Romero 2 and his videos and he can get away with a bunch more because he is selling a lifestyle and a story while you’re doing a walk through. Of course, he seems to be shooting videos for complexes as opposed to a lot of single family homes. But when you have actors or the realtors posing as homeowners, it’s easy not to notice any flaws or lack of DR. He’s also does shorter shots with more edits where your style seems to be more of a traditional walk through. And as a side note... his use of hyper lapses is a bit much. 
But I digress, I think your color looks okay. The real concern, if I were you, would be the YouTube compression. I think I remember reading somewhere that it is better to upload a 1080p video as 4K instead of an actual 4K video if you don’t get a ton of views because it denotes more bitrate to your videos that the algorithm wouldn’t normally give you.
With that being said, maybe a GH5 with its 10bit would make more sense. As @Towd said, the CineLikeD Profile will give you most of the DR you’re after and that solid 1080p will give you more bitrate than the 4K you’re shooting with the a6500. 
Also, didn’t you say that these jobs are for medium pay and a quick turnaround? If you’re spending hours on the edit/grade, I’d assume you’re spending too much time?

If you can afford the Z ecosystem, go the Z6 way, if not, X-T3 will be sufficient for what you do and I big upgrade of what you are having right now.
GH5 is a video workhorse but not a great photo camera (I did a couple photo jobs with one last summer), especially for someone do 90% photos. If it was the other way around (90% videos) then GH5 is a great idea.

In the liquor bottles those reds are very saturated, although the other colours may not have been, maybe that's a Sony thing perhaps?  The greens in the foliage through the windows are pretty saturated too.  
I'm not sure how much improvement there would be from changing cameras, and how much of it is just the actual lighting in the location.  Obviously with 10-bit files you can push the colour around a bit easier, but it would be a lot of work to try and get rid of the green/purple behaviour of this shot.  What comes to mind is keying the walls and flattening the saturation, obviously a different key for the green vs the blue walls.  There are a few ways to reduce colour variation, one is the Colour Compressor (I think that's what it's called?) and another is just to partially desaturate the area and tint it to the desired colour, but these are a lot of work in post.

So, I watched the 2Gems Media's video a few times and some of their other videos on their channel.  It's an interesting modern style that he's obviously using to much success.  I wouldn't call it a cinematic style.  He's not afraid to let his whites clip and it looks like he degrains his footage and doesn't add any back, but just leaves it very clean. 
The most important thing he does is get a nice neutral white balance.  Also, he seem to push overall exposure into the upper range.  I'm not saying he lifts blacks, but his middle exposure area feels higher than normal.  Conversely, for a cinema look, I'd push everything much darker.  I'm sure this is to make a home feel warm and inviting.
I also noticed he seems to put a soft glow around his highlights-- or he has a filter that does it.  In any case, I put a little glow at the very top of the exposure range.  
Didn't use any secondaries or keys, or animate any values.  So, I just let the beginning remain a bit green since it's getting the bounce off the walls anyway.  It is a bit of a challenging shot with the mix of light sources and colors, so I just aimed for a fairly neutral white balance that I just tweaked a tad after pulling a white sample off the back window frame.
Anyway, here's my interpretation of his style.  Let me know if you think I got close.  I included my node graph for the order I did stuff.  Only one operation per node.  Just posting last and first frames.  Last frame first, since I looked at that the most for the hero look.  I feel I could lift the exposure even a quarter to half stop more, but it bugs the hell out of me to be this bright already, and I did try to protect highlights a little more than I think the 2gems guy does.   Must... protect... highlights.... ?
 

Here's what I ended up with..  As I said, no idea if it's any good or not, but happy to share what I did if it is of interest.  There's two versions - the second one is a little different with contrast and saturation, but the WB treatment is still the same.  They're both quite saturated though (look at the liquor bottles).
 

Yeah TBH I don't care about 4k at all, much rather have dynamic range or 10 bit. As long as its a good 1080p codec I really can't tell the difference. 

The XT3 is definitely nice. Dynamic range is better than the GH5 in my experience in video. Dynamic range as well as low light performance in photos really blows the GH5 away. If you are looking for a hybrid camera its hard to beat. 

That looked pretty darn good considering the lighting conditions. 

Do you shoot with 0 saturation or lower?

Yeah I know, there have been times where I completely forgot what settings I shot at lol. 

Sony color settings are confusing tho. I am not sure Slog is the best profile if trying to maintain the most color information. 

I wonder if having the option to change so many parameters within Sony camera’s picture profiles, that it becomes a double edged sword. 
It seems like it may be a worth a test to just lower sharpening and then using the Color Space Transform in Resolve or one of Sony’s official LUTS to get the Log footage into Rec709.

Yes, shared nodes are really useful for making a scene adjustment ripple across all shots in a scene.  It's something more useful to me in the main grade after I get everything in my timeline's color space.
For me, what I like about pre and post-clips is that I typically have 2 or 3 nodes in my pre grade and the purpose of my pre-clip is just to prepare footage for my main grade.   For example, a team I work with frequently really likes slightly lifted shadow detail, so I'll give a little bump to shadow detail then run the color space transform in my pre-clip.  If one camera is set up really badly one day and I need two different pre-clips for that camera, I'll just make multiple incrementing numbered groups for that camera, so I've never had a reason to put a shot in multiple groups. The other thing, I really like about groups is that you get a little colored visual icon of all shots in a current group that appear on the thumbnails in the timeline.  This makes for a nice visual sanity check when I'm scanning through a ton of footage on a long project.  Usually, the camera used is fairly obvious from A cams, to drones, to body cams by the thumbnail on the timeline so the visual reference of thumbnail and colored group icon is a nice check that I've prepped all my footage correctly.
I know there is some extra flexibility in putting grading nodes before or after a color space transform, but for me on a large project, my main purpose in the pre-clip is to just get things close and into the proper color space.  If I really need to do more adjustments that have to be done pre-color space transform, I'll flip around color spaces in my main grade.  But my goal is to do all my shot to shot and scene balancing in my main grade with everything in my delivery color space.  Keeps things sorted for me.  ?
Ultimately, it all depends on the type of work you are doing.  If I was doing feature work that is all shot on one camera type my system wouldn't be very useful.  But I do a lot of doc work, and outdoorsy adventure stuff that are typically shot on all types of cameras and conditions, so it can be really useful for keeping things organized.
One last trick with the groups is that if I'm also mixing 6k, 4k, and 2k footage, I can throw a little sharpening or blurring into the post-clip section to match up visual detail between cameras.  Then use the timeline grade to do any overall finishing if needed.
Ultimately, Davinci is just a wonderfully flexible system for developing custom workflows that works for you.  I love that their are so many ways to organize and sort through the color process.  ?

I used to use those Pre-Clip and Post-Clip groups, but I got a bit frustrated with them because you couldn't have clips in multiple groups.  Resolve has now gone one better and has Shared Nodes, which means you can combine treatments in any way that you feel you might want to.
I always think of the example of shooting two scenes with two cameras.  You obviously want to grade the cameras differently to match them so you want all the shots from each camera to share the same processing.  Now they all have the same kind of look, you want to apply a creative grade to them, and you actually want to grade the two scenes differently as they have different dramatic content.  Previously you could use the grouping to combine the processing of either the cameras, or the scenes, but not both.  Now with the shared nodes you can mix and match them however you like.

A big +1 on this for myself as well.  Some people seem to get good results just pulling log curves until they look good and can get get nice results, but I find if I handle all the color transformations properly, I'm reducing the number of variables I'm dealing with and I have the confidence that I'm already working in the proper color space.  Once in the proper color space, controls work more reliably, and it is also a big help if you are pulling material from a variety of sources.  
I have not tried the Aces workflow, but since I'm pretty much always delivering in rec 709, I like to use that as my timeline colorspace.  So, I just convert everything into that.
One feature I also really like about Resolve is the ability to use the "grouping" functionality that opens up "Pre-Clip" and "Post-Clip" grading.  Then I group footage based on different cameras, and I can apply the Color Space Transform and any little adjustments I want to make per camera in the "Pre-Clip" for that group/camera.  That way when I get down to the shot by shot balancing and grading, I already have all my source material happily in roughly the same state and I can begin my main balance and grade with a clean node graph.  On a typical project, I may have material from a variety of Reds with different sensors, DSLRs, GoPros, Drones, and stock footage.  If I had to balance everything shot by shot by just pulling on curves, I think I'd go crazy.
If you don't work in Resolve, you can do roughly the same thing by using adjustment layers in Premiere and just building them up.  Use the bottom adjustment layer to get all your footage into Rec 709 with any custom tweaks, then build your main grade above that. 
Even if you are not working from a huge variety of source material, many projects will at least have Drone and DSLR footage to balance.  You can then develop your own LUTs for each camera you use, or just use the manufacturers LUTs to get you into a proper starting place.
One final advantage if you can use the Color Space Transform instead of LUTs is that LUTs will clip your whites and blacks if you make adjustments pre-LUT and go outside the legal range.  The Color Space Transform node will hold onto your out of range color information if you plan to later bring it back further down the line.

Yep definitely the GH5. The S record button looks different. 

It looks like he is flying a GH5 possibly. Definitely has an Olympus lens on there, maybe the 12-40?
 
EDIT: Or more likely the 7-14mm f/2.8...

Yep that's the GH5. I'd say he's got the Olympus 7-14mm on there for a lot of those shots.