My take: The scene cried for a cinematic look. Lets imagine you shot that scene in Kodak Vision 3 50D 5203 (negative) and printed it on Kodak 2383 (FPE) D50 temp.
- Getting the Colortemp right in RawTherapee - export to Kodak Cineon Colorspace (LogM).
DSC00916.ARW.pp3 (11.6 KB)
- Simulate the Film Stock in Natron with just two nodes/LUTs for the negative/print-film stocks and render in 4K Super 35 (full ap).
What you have now is a good place to start with something like final touch colorgrading (plus maybe removing the spot in the sky). Had no time to do that, but I think you get where I’m going. I’d use darktable for that, I guess.
I’m working with Fuji-raw-files most of the time so I wondered if my workflow works with Sony as well. Check.
With a fast workstation the whole process above doesn’t take more than 10 mins. Plus you’d have a consistent film-look with all your other footage. Just fiddle with the CIE Color Appearance Module, nothing else needed.
PS: Another thing to do would be applying some grain. Yet another node in Natron which also would eliminate the too contrasty water ripples in the foreground.