Thanks so much for creating this video! I've been looking for EXACTLY this to decide whether to get the Pro or the Cine, i'm glad I can save the money and go with the Pro for my needs.
Thanks. Glad you liked it Being able to shoot in Prores is a must for a lot of professionals, but it's good to know what you get for the extra price. Happy grading.
@@Resolve_This great video! But why is it a must if it’s visually the same? I did some testing with atomos ninja prores HQ, 422 and LT vs internal h265. I couldn’t really see any difference and it’s really frustrating (pro res is not the main reason why i bought it) should i just stick with 422LT? And are there any tests i could do to see the difference? PS. You just got a new subscriber ☺️
@@benasjucevicius9813 Thank you very much for subscribing 🙏. There are several pro’s and con’s with using ProRes. The biggest downsides could be filesize and that you might need to render it out for delivery in another codec. On the plus side is definitely how well you playback and edit in ProRes. H.264/5 are deliverables and not well suited for editing/grading. Also ProRes can have more image data which can give you a better result when grading. What’s best all depends on your needs, skills, delivery platform ie. Sometimes you start with one preferred way of doing things and change along the way as your skills evolve. Hope that helped.
@@Resolve_This Thank you for the reply! It's definitely easier for computer, tho even if i did heavy color grading i still couldn't really see any noticible difference in quality even when pixel peeping. Tho it seemed like h265 was a little darker in the shadows area, other than that even HQ and LT was visually the same after heavy color grading 😅
Great Vid. Thanks for sharing. My personal experience is that H265 encoding gives better performance than the Prores codec. With all other things equal, i.e. exposure, ISO, D-Log turned etc. I see noticeable artifacts with the Prores footage that are not apparent in H265 footage. There is more banding in flat tonal areas like the sky and more noise in the shadows. Which is very disappointing given the additional cost and file sizes with Prores. I did my testing in 4K60. Maybe Prores holds up better at 5.1K.
Thank you so much for this. I've been considering upgrading my Mavic 3 Cine to Mavic 3 Pro Cine, but can't really justify paying another 5k€ for it... this makes it easier; I'll get the regular Mavic 3 Pro for a bit over 2k and keep my Mavic 3 cine as a backup drone and use my old Pro RC with the new drone.
great idea, i lost my cine in the ocean as i was drone fishing, drone decided to "land" and changed its trajectory flight from horizontal into vertical position and plummeted into ocean. DJI refused to provide a solution, only 15% discount was offered which I find ridiculous; they told me im not allowed to "attach anything" to a drone, yet it has certain weight carrying capacity.
@@ia6980fishing is illegal with a drone in some states at least. Attaching something to your drown over the water is pretty crazy. I'm fishing is violent. So sounds like you lost your drone for some good reasons
This was D-Log. DJI haven't released a white paper on what D-Log M actually does other than stating it would be 'easier' colorgrade, so I'm not sure of the specific differences. But I suspect that D-Log M doesn't 'compress' the dynamic range as much as regular D-Log. But that's just my guess. Happy grading.
Thank you for this comparison. I’ll be saving lots of space now on most of the footage I take with my Mavic 3 Cine. Kind of makes me realize that having the ProRes capability with the Cine is overkill. I really do look forward to your next video which may show where having the ProRes capability can pay off. It is helpful to know so I can save storage space and shoot smarter.
Absolutely. There’s still the fact that H.265 isn’t as edit-friendly as ProRes and might need to be transcoded anyways. But definitely interesting to see the quality. I’ll do my best to get the footage needed for a comparison with less ligthing and more movement in the frame.
You cant see detailed the difference in this location with that daylight. You have to test it again with fog and low light. U will see the fog with h265 will pump a litle bite because of the heavier compression as with prores 422hq
Doing the same comparison on low light/dusk is on my to-do list. Just been busy with other things, but a side-by-side comparison in low light is definitely coming.
@@Resolve_This I am waiting for the release of such a video, it is very important for me, I am faced with a choice of what to buy. Not so long ago I did a color correction of a night pool party, I didn't really like the result with floating lighting, sturbascopes, etc - the picture very easily began to crumble and give out artifacts. At the same time, with static urban lighting, the picture is quite good. I was shooting on air 2s, I don't really like their log.
This video is really interesting, thank you for sharing, you have another suscriber. I am about to get a Mavic 3 however it is very crucial for me if the ProRes encoding is really worth it. I know it is easier to work with ProRes in Resolve but I think the night / fog shots are crucial to determine if there is a real payoff in using H.265. I am very attentive to your low light testing/comparson video! Do you know an estimated date?
Thank you so much. The low light comparison video is in the works. Just waiting for enough time between colorgrading jobs to deliver something valuable but stay tuned. It will arrive soon. Thanks for the sub.
This is a great comparison my friend and great information. thanks for this. if possible can you show to color grade night footage Dlog in davinci resolve from the Mavic 3?
Great informative video, im in the middle of figuring which drone to get, either the Mavic pro 3 mini pro , or the Mavic 3 cine . I shoot wedding and mostly photography jobs. my issue is validating spending over5k for cine! Is it worth. from this video is doesn't look so. What would you recommend.
Thank you. The cameras in the M3 and M3 Cine are the same. The only difference is the ProRes option. ProRes outperforms H.265 in two cases: 1) Low light conditions - you can get more details and a little less noise in the shadows. 2) Playback in your editor. H.264/265 is very taxing on any system and is not meant for editing/grading, so to get better playback it’s often a good idea to transcode the files to ProRes and work on them instead. But that’s an extra step and takes time. Also, if you colormatch to other cameras it will probably be a bit easier with ProRes than with H.265 files. Tough decision for sure but I hope this helps a bit. Best of luck.
@@Resolve_This Do not forgett the second difference which is inbuild 1TB harddisk ;) Normally Cine comes also with the RC Pro, which is another valuable product of around 1K EUR.
I’m not sure how compressed LT would be and hold up compared to H.265, but I’m doing a H.265/ProRes422 comparison with underexposed shots that will be uploaded soon.
Also, its CRIMINAL that DJI charges OVER A THOUSAND DOLLARS MORE just to be able to record in a different codec on THE SAME CAMERAS. Unbelievable how greedy that is. I would say don't support such a company, but there isn't good enough competition yet.
There is the extra build-in SSD and a added licensing fee for having Prores, but that said, we could definitely use some more competition in the prosumer drone market.
@@Resolve_This I would agree, but I can buy a Samsung 1TB ssd for $50 and Samsung makes FAR superior drives than likely whatever they put in those. I mean….to be fair. I also understand Apple is going to squeeze every single dollar they can get out. But back to that greed aspect. I don’t claim to know it all about their overhead for such a thing. But that seems excessive
Hello sir I want do to my short film color in dci p3 colour space my monitor is benq SW271 is support DCI p3 97% ....is a good Idea to do in dci p3 in monitor it will look correct in cinema theatre and DCI p3 is SDR or hdr
If your monitor only supports DCI 97% I would not rely on that for DCI. You don't know which % of the DCI space it's missing. I would only deliver the same standard as the calibrated monitor I'm working on is capable of showing. You can always send the project to another grader for a trim pass who can deliver DCI P3 if you don't have that option yourself. DCI-P3 color space is 25% wider than sRGB but not HDR. Hope that helps and happy grading!
Lots of motion is where ProRes is superior. You have to compare lots of motion. Otherwise, I prefer H265 and never use ProRes. Overkill for this quality drone.
Yes, I find, not surprisingly, that Prores handles motion artifacts better than the compressed H.265 format. And I agree that you can get almost as much out of Prores on the Mavic 3 Cine.
@@VeganLinked I shoot mostly real estate, which calls for slow cinematic shots edited quickly together. Motion artifacts are hardly visible online anyway, but I do notice very slightly in fast low shots where the edges of the screen are flying by. However, since I don't hardly shoot those types of shots, H265 filesize, workflow and quality is indistinguishable with prores even when you pixel peep.
No. Prores is a codec designed by Apple for better editing performance, and optimal image quality. HDR10+ is and improved version of HDR10 with a maximum brightness to 4,000 nits etc.
Prores 422 is expected to be like that in general it's kinda useless format there that takes extra space, it will start to make real difference if dji makes better 444 chroma subsampling
I wouldn't call it useless. It's a very editfriendly codec that most machines can easily playback in realtime, even with grades applies. Unlike H.264/5.
Your footage is stuttering. Is it me or is your footage stuttering like I find with my Air 2S? I find the only acceptable footage I get is with h.264 29.97, normal color space, 30 fps shutter 60. In premiere pro, in Avid, in resolve, in FCP and simple playback on desktop. H.265 and all the other DJi color spaces jitters ie D Log and HDR. I have a Mac studio all decked out. I use the proper sequence settings to match the footage no mismatch. The only footage that plays smoothly for me is H.264 at 30 fps with DJI's normal color space. Can you not see your footage jittering or is it me? Is this an H.265 thing? Look at your H.265 on its own I think you will see the jitter. Also 23.98 fps on my DJI air 2s produces even worse results. Not a drone issue as H.264 30 fps works OK. Not a good video edit codec but best for social media and small files. Also stutter remains on output. H.264 normal color space is DJIs sweet spot. I record to both internal and proper SD card, updated firmware etc. 29.97 H.264 normal color profile only good results.
If you see jitter here, it might be due the RUclips compression and YT playback. I have no issue with stuttering or jitter, as long as I stay close the the 180 degree rule: 25 FPS recorded at 1/50. When you stick to that rule the footage always comes out smooth and clean. That goes for all FPS, so fx. for 30FPS shot at 1/60 and so on. Happy grading.
Thanks for your thoughtful response. I am using the 180 degree rule with 60/30 and doing OK. If I could let me ask you again your thoughts on my situation if you would be so kind. I am finding if use the DJI "normal" Codec with H.264 which plays very nicely in Premiere Pro, Avid , Resolve etc. on my Mac Studio but when I choose the H.265 Codec that comes with the D-Log and HDR color spaces things get a bit jittery for me. Also when I shoot 24/50 I feel things do not hold together well either. Any thoughts on using MOV or MPEG4. I am on Mac. I have read that H.264/5 is a terrible codec for editing. I tried transcoding to pro res but it doesn't seem much better. Also Premiere is supposed to be able to accommodate mixed frame rates on the same timeline (ie 29.97 and 23.98) but with my DJI footage no way one frame rate always suffers. Any ideas on methods of transcoding or such? I have always been underwhelmed with camera on the Air 2S but I guess I am asking a lot on such a cheap drone. Thanks again @Airflix_Davinci_Tips @@Resolve_This
@@sbday2417 Both H.264 and H.265 are intraframe codecs, but H.265 significantly increases intraframe predictions over H.264 encoding and maybe that's why they do perform equally in DV. As you say, H.264/5 are pretty bad codecs for editing, it's almost always better to transcode to Prores/DNxHR and reimport that. The same goes with mixed frame rates. It will very often cause issues, and should be avoided if at all possible.Last that Air 2S is a smaller sensor drone with the limitations that comes with that, so probably do not set your expecatations too high for the footage it produces.
Thanks so much for creating this video! I've been looking for EXACTLY this to decide whether to get the Pro or the Cine, i'm glad I can save the money and go with the Pro for my needs.
Thanks. Glad you liked it Being able to shoot in Prores is a must for a lot of professionals, but it's good to know what you get for the extra price. Happy grading.
Likewise🙏
@@Resolve_This great video! But why is it a must if it’s visually the same? I did some testing with atomos ninja prores HQ, 422 and LT vs internal h265. I couldn’t really see any difference and it’s really frustrating (pro res is not the main reason why i bought it) should i just stick with 422LT? And are there any tests i could do to see the difference?
PS. You just got a new subscriber ☺️
@@benasjucevicius9813 Thank you very much for subscribing 🙏.
There are several pro’s and con’s with using ProRes.
The biggest downsides could be filesize and that you might need to render it out for delivery in another codec.
On the plus side is definitely how well you playback and edit in ProRes. H.264/5 are deliverables and not well suited for editing/grading. Also ProRes can have more image data which can give you a better result when grading. What’s best all depends on your needs, skills, delivery platform ie.
Sometimes you start with one preferred way of doing things and change along the way as your skills evolve.
Hope that helped.
@@Resolve_This Thank you for the reply! It's definitely easier for computer, tho even if i did heavy color grading i still couldn't really see any noticible difference in quality even when pixel peeping. Tho it seemed like h265 was a little darker in the shadows area, other than that even HQ and LT was visually the same after heavy color grading 😅
That's an amazing analysis! Thanks for creating this.
thanks for watching
Great Vid. Thanks for sharing. My personal experience is that H265 encoding gives better performance than the Prores codec. With all other things equal, i.e. exposure, ISO, D-Log turned etc. I see noticeable artifacts with the Prores footage that are not apparent in H265 footage. There is more banding in flat tonal areas like the sky and more noise in the shadows. Which is very disappointing given the additional cost and file sizes with Prores. I did my testing in 4K60. Maybe Prores holds up better at 5.1K.
Thank you so much for this. I've been considering upgrading my Mavic 3 Cine to Mavic 3 Pro Cine, but can't really justify paying another 5k€ for it... this makes it easier; I'll get the regular Mavic 3 Pro for a bit over 2k and keep my Mavic 3 cine as a backup drone and use my old Pro RC with the new drone.
great idea, i lost my cine in the ocean as i was drone fishing, drone decided to "land" and changed its trajectory flight from horizontal into vertical position and plummeted into ocean. DJI refused to provide a solution, only 15% discount was offered which I find ridiculous; they told me im not allowed to "attach anything" to a drone, yet it has certain weight carrying capacity.
@@ia6980fishing is illegal with a drone in some states at least. Attaching something to your drown over the water is pretty crazy. I'm fishing is violent. So sounds like you lost your drone for some good reasons
Was The h.265 with D-Log or D-Log m and what are your thoughts about the difference between d log and d log m?
This was D-Log. DJI haven't released a white paper on what D-Log M actually does other than stating it would be 'easier' colorgrade, so I'm not sure of the specific differences.
But I suspect that D-Log M doesn't 'compress' the dynamic range as much as regular D-Log. But that's just my guess. Happy grading.
Thank you for this comparison. I’ll be saving lots of space now on most of the footage I take with my Mavic 3 Cine. Kind of makes me realize that having the ProRes capability with the Cine is overkill. I really do look forward to your next video which may show where having the ProRes capability can pay off. It is helpful to know so I can save storage space and shoot smarter.
Absolutely. There’s still the fact that H.265 isn’t as edit-friendly as ProRes and might need to be transcoded anyways. But definitely interesting to see the quality.
I’ll do my best to get the footage needed for a comparison with less ligthing and more movement in the frame.
You cant see detailed the difference in this location with that daylight. You have to test it again with fog and low light. U will see the fog with h265 will pump a litle bite because of the heavier compression as with prores 422hq
Doing the same comparison on low light/dusk is on my to-do list. Just been busy with other things, but a side-by-side comparison in low light is definitely coming.
@@Resolve_This I am waiting for the release of such a video, it is very important for me, I am faced with a choice of what to buy. Not so long ago I did a color correction of a night pool party, I didn't really like the result with floating lighting, sturbascopes, etc - the picture very easily began to crumble and give out artifacts. At the same time, with static urban lighting, the picture is quite good. I was shooting on air 2s, I don't really like their log.
Only difference would be your computer will hate h.265 compared to prores unless you got a beast of a computer
Yes, true. H.264/5 are deliverables and not meant for either editing or grading and very taxing on any system.
Great video buddy, greetings from good old Germany.
Thank you. Glad you liked it. Stay tuned for more.
Thank you! I liked and subscribed.
Really appreciate it.Means a lot.
Nice video 😀, liked & subscribed, thanks for sharing ‼
Thank you. Stay tuned lot’s more in the pipeline 👍
Thank you for this comparison. great work appreciate it really so much.
Thank you. My pleasure.
This is great. Thank you for the information.
Thank you - glad you liked it.
This video is really interesting, thank you for sharing, you have another suscriber. I am about to get a Mavic 3 however it is very crucial for me if the ProRes encoding is really worth it. I know it is easier to work with ProRes in Resolve but I think the night / fog shots are crucial to determine if there is a real payoff in using H.265.
I am very attentive to your low light testing/comparson video! Do you know an estimated date?
Thank you so much. The low light comparison video is in the works. Just waiting for enough time between colorgrading jobs to deliver something valuable but stay tuned. It will arrive soon. Thanks for the sub.
Thank you!
You're welcome!
Thank you!!!! Great video 👍👍👍
My pleasure, glad you liked it.
what tool you used to highlight your mouse selection ?
Pro Mouse 👋
This is a great comparison my friend and great information. thanks for this. if possible can you show to color grade night footage Dlog in davinci resolve from the Mavic 3?
Thank you.
Night footage comparison, and grading, of ProRes Vs. H.265 will probably be the topic for next video.
Stay tuned.
Hey Pal, very nice video. Is the low light comparison video releasing soon?
Great informative video, im in the middle of figuring which drone to get, either the Mavic pro 3 mini pro , or the Mavic 3 cine . I shoot wedding and mostly photography jobs. my issue is validating spending over5k for cine! Is it worth. from this video is doesn't look so. What would you recommend.
Thank you.
The cameras in the M3 and M3 Cine are the same. The only difference is the ProRes option.
ProRes outperforms H.265 in two cases:
1) Low light conditions - you can get more details and a little less noise in the shadows.
2) Playback in your editor. H.264/265 is very taxing on any system and is not meant for editing/grading, so to get better playback it’s often a good idea to transcode the files to ProRes and work on them instead. But that’s an extra step and takes time.
Also, if you colormatch to other cameras it will probably be a bit easier with ProRes than with H.265 files.
Tough decision for sure but I hope this helps a bit. Best of luck.
@@Resolve_This Do not forgett the second difference which is inbuild 1TB harddisk ;) Normally Cine comes also with the RC Pro, which is another valuable product of around 1K EUR.
Very informative. Something I am curious about it H265 vs Prores LT. I haven't seen much on that. Anyone have any thoughts?
I’m not sure how compressed LT would be and hold up compared to H.265, but I’m doing a H.265/ProRes422 comparison with underexposed shots that will be uploaded soon.
Also, its CRIMINAL that DJI charges OVER A THOUSAND DOLLARS MORE just to be able to record in a different codec on THE SAME CAMERAS. Unbelievable how greedy that is. I would say don't support such a company, but there isn't good enough competition yet.
There is the extra build-in SSD and a added licensing fee for having Prores, but that said, we could definitely use some more competition in the prosumer drone market.
@@Resolve_This I would agree, but I can buy a Samsung 1TB ssd for $50 and Samsung makes FAR superior drives than likely whatever they put in those. I mean….to be fair. I also understand Apple is going to squeeze every single dollar they can get out. But back to that greed aspect. I don’t claim to know it all about their overhead for such a thing. But that seems excessive
Hello sir I want do to my short film color in dci p3 colour space my monitor is benq SW271 is support DCI p3 97% ....is a good Idea to do in dci p3 in monitor it will look correct in cinema theatre and DCI p3 is SDR or hdr
If your monitor only supports DCI 97% I would not rely on that for DCI. You don't know which % of the DCI space it's missing.
I would only deliver the same standard as the calibrated monitor I'm working on is capable of showing. You can always send the project to another grader for a trim pass who can deliver DCI P3 if you don't have that option yourself.
DCI-P3 color space is 25% wider than sRGB but not HDR.
Hope that helps and happy grading!
@@Resolve_This thank you sir for your reply
Lots of motion is where ProRes is superior. You have to compare lots of motion. Otherwise, I prefer H265 and never use ProRes. Overkill for this quality drone.
Yes, I find, not surprisingly, that Prores handles motion artifacts better than the compressed H.265 format. And I agree that you can get almost as much out of Prores on the Mavic 3 Cine.
He did compare motion though like how much more than what he actually did here before it breaks?
@@VeganLinked I shoot mostly real estate, which calls for slow cinematic shots edited quickly together. Motion artifacts are hardly visible online anyway, but I do notice very slightly in fast low shots where the edges of the screen are flying by. However, since I don't hardly shoot those types of shots, H265 filesize, workflow and quality is indistinguishable with prores even when you pixel peep.
Is prores the Apple version of HDR 10 plus?
No. Prores is a codec designed by Apple for better editing performance, and optimal image quality.
HDR10+ is and improved version of HDR10 with a maximum brightness to 4,000 nits etc.
Prores 422 is expected to be like that in general it's kinda useless format there that takes extra space, it will start to make real difference if dji makes better 444 chroma subsampling
I wouldn't call it useless. It's a very editfriendly codec that most machines can easily playback in realtime, even with grades applies. Unlike H.264/5.
Your footage is stuttering. Is it me or is your footage stuttering like I find with my Air 2S? I find the only acceptable footage I get is with h.264 29.97, normal color space, 30 fps shutter 60. In premiere pro, in Avid, in resolve, in FCP and simple playback on desktop. H.265 and all the other DJi color spaces jitters ie D Log and HDR. I have a Mac studio all decked out. I use the proper sequence settings to match the footage no mismatch. The only footage that plays smoothly for me is H.264 at 30 fps with DJI's normal color space. Can you not see your footage jittering or is it me? Is this an H.265 thing? Look at your H.265 on its own I think you will see the jitter. Also 23.98 fps on my DJI air 2s produces even worse results. Not a drone issue as H.264 30 fps works OK. Not a good video edit codec but best for social media and small files. Also stutter remains on output. H.264 normal color space is DJIs sweet spot. I record to both internal and proper SD card, updated firmware etc. 29.97 H.264 normal color profile only good results.
If you see jitter here, it might be due the RUclips compression and YT playback. I have no issue with stuttering or jitter, as long as I stay close the the 180 degree rule: 25 FPS recorded at 1/50. When you stick to that rule the footage always comes out smooth and clean. That goes for all FPS, so fx. for 30FPS shot at 1/60 and so on. Happy grading.
Thanks for your thoughtful response. I am using the 180 degree rule with 60/30 and doing OK. If I could let me ask you again your thoughts on my situation if you would be so kind. I am finding if use the DJI "normal" Codec with H.264 which plays very nicely in Premiere Pro, Avid , Resolve etc. on my Mac Studio but when I choose the H.265 Codec that comes with the D-Log and HDR color spaces things get a bit jittery for me. Also when I shoot 24/50 I feel things do not hold together well either. Any thoughts on using MOV or MPEG4. I am on Mac. I have read that H.264/5 is a terrible codec for editing. I tried transcoding to pro res but it doesn't seem much better. Also Premiere is supposed to be able to accommodate mixed frame rates on the same timeline (ie 29.97 and 23.98) but with my DJI footage no way one frame rate always suffers. Any ideas on methods of transcoding or such? I have always been underwhelmed with camera on the Air 2S but I guess I am asking a lot on such a cheap drone. Thanks again @Airflix_Davinci_Tips @@Resolve_This
@@sbday2417 Both H.264 and H.265 are intraframe codecs, but H.265 significantly increases intraframe predictions over H.264 encoding and maybe that's why they do perform equally in DV. As you say, H.264/5 are pretty bad codecs for editing, it's almost always better to transcode to Prores/DNxHR and reimport that.
The same goes with mixed frame rates. It will very often cause issues, and should be avoided if at all possible.Last that Air 2S is a smaller sensor drone with the limitations that comes with that, so probably do not set your expecatations too high for the footage it produces.