What is the best proxy format to use when working with S-Log in a linear colourspace?

I have been working with some Sony F55 footage shot against a green screen. I am working in a 16bit s-rbg colourspace
I made proxies out of the source which were photo-jpeg movs, nice n fast.
However it is clamped the colour values in the proxy with what looks like an s-curve which has subsequently made my keying settings significantly different (i.e far more contrasty) when switching between proxy and original.
So what would be the best way to go about converting some log-s footage to a fast proxy format without messing with key effects parameters by such a troublesome amount. I can live with a small difference of course.
Thanks in advance.

Thanks Dave,
I appreciate the quick response. It is sensible advice.
Do you have any suggestions (when i do use proxies for log-c/s footage in general) for a decent format?
Would applying a linear output profile adjustment layer make a difference to a lesser format? Or do compressed formats bypass output profiles?
I only ask as I do a lot more compositing with linear footage these days and my machine struggles when it goes into a deep composite

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