For 16 bit Sony Raw - I am interested in getting the maxium potential from my raw files from within Avid, if at all possible, using the Baselight plug in, which I have and like very much.
First question - there don't appear to be many options in the source side of the source setting; i.e., slog3.sgamut3.cine gets to be applied to the file automactically as a default, even though the raw file doesn't have any intrinsic color space when recorded. I don't see any debayer options. Source settings on the input side go from REC709 through REC2020, DCIP3, linear full levels, Sony S-gamut3, Sony S-gamut3.cine, Arri Alexa all the way to "unknown." There is no documentation on any of these options from either Avid or Sony, so perhaps Martin may be kind enough to chime in here.
I often apply a color transformation, the Sony Type A LUT in Avid for edit, and then remove all colorspaces and color correct from the log fotage using Baselight.
Second question - I assume that everything, even in AMA with no rendering or transcoding, is automatically converted to 10 bit, thus reducing the value of grading from the high resolution camera file. True? And is there any advantage I can see in edtiting in an RGB project? As the raw files play very well, is there any advantage to transcoding to DnXHR at this stage?
Anyway, hats off to both Avid and Baselight as my Dell system plays 4K just fine with 1/4 proxy on - I need to remember to do all my effects and grading in full res, learned that the hard way. Just a little disappointing to lose all that colorspace in the raw files. The Baselight plug in along with the Artist Color surface makes for a powerful system, especially with a 4K monitor - I've got the 34" LG UHD monitor with the calibration software.