It's a pretty good trick for some instances, like the one in this video! Sometimes it's better to track manually instead of relying on all the technology haha! Cheers man!
Thank you Mr. Alex! you are life saver and footage saver! your CST-DWG made grading so nice. I was not happy with just CST D-Log on my Mavic Air2S Footage. with very strong and punchy contrast and color and magenta tone overall. my footage looks crap. But your workflow helped me liking my footage! Great content!
Such a good tutorial! I randomly saw your insta reel video and came to check out your RUclips, instant subscriber 😎 such quality content learned a lot from just this one video
I was searching for a D-Cinelike grading technique for a long time and finally found it. Thx man. I got a lot of footage from Mini 3 Pro, and now I know how to deal with it.
Hello, love your video... talking about CST on DJI clips, you tried to use DJI + Gamma 2.4 - DWG + Gamma 2.4 and for CST Out DWG + Gamma 2.4 - Rec 709 + Gamma 2.4?
Very nice tutorial! I haven´t really got the hang of the CST yet, so your approach with the two steps was very interesting. I´ve tried only the one step from input DJI D-Log directly to Rec.709 but didn´t like the results.
I recently got told to try and use Canon Log instead of D-LOG in the Input Gamma and I actually really like the results of that. Keep it as DJI D-Gamut in the Input Color Space. It's a bit less stronger than the DLOG conversion and makes it easier to work with the footage :-)
The bitrate is only important at export. For project settings, I always use 4K and 29,967 FPS, as that's what I shoot and that works best across all platforms. For export settings, I got a video on that, if you search my channel for "best export settings for reels" Hope that helps!
Thank you! I don't do much in my Color Management settings since I do it all in the nodes with Color Space Transforms, so it doesn't matter much. Although I do often set my timeline settings to DaVinci Wide Gamut / Intermediate and my output is always set to Rec.709 Gamma 2.4 - but again in matters less when you manage it all within the nodes. It's good practice to have it set up though and the Timeline Color Space might influence some of the tools slightly :-) I hope that helps!
Hey! I noticed you chose REC 709 for both your color space and output. Just curious, any specific reason you didn't go with Gamma 2.4 for the gamma? Totally get the REC 709 choice for color space though!
You're welcome! I use DJI D-GAMUT and CANON LOG now, as the D-LOG profile always converts pretty harshly and since I had it recommended to use Canon Log instead, I've been doing that and been getting better results as it's a softer conversion!
Great videos! I have the mini 3 pro and Mavic 3 so this was nice to see especially as far as how to set the color spaces. I am new to this so the color space alone is a lot. Do you have any advice on exporting? I have found it never looks like the edit which negates the subtleties when editing. It's really frustrating. The best luck I've had to keep the saturation I want is to match the output node (Rec 709 and Gamma 2.4) however, there is still more contrast and less details in the shadows!
Most commonly I see this issue come to life if you display is not set to Rec.709. Now, I don't know what you use to edit but a lot of screens can be changed into Rec.709 - it might look a bit more flat at first when you switch but when you edit with the correct display settings, you should also find that your grade is correctly represented afterwards. That's at least what's fixed it for me. If your display has the wrong settings, you're grading in the Rec.709 but not correctly shown what it looks like. Just remember that if you transfer it to a phone or something after, usually those displays are not set to Rec.709 and therefore it might be slightly different again. Hope it makes sense and helps 🙌🏻
@@AlexBjorstorp Thanks for the reply. I appreciate it. That makes sense but I am exporting and viewing them side by side on an M1 Macbook so shouldn't the image look the same exported as in the editor regardless of display setup?
@@wiltonbrosphoto no, for some reason it doesn’t - I don’t know exactly why but I’m assuming it’s because the rendering makes it actual rec.709 after and that makes a difference. If it’s a MacBook Pro you can change the display settings to view sRGB, Rec.709 or BT709 (all the same), that should hopefully fix it for you in and post editing ☺️
Dude! At 1:25 you are clicking and doing things but you aren't saying what you are doing, or why. Where did the other node come from? Which node is getting the DJI D Gamut and DJI D-log? You are Choosing them while only the 1st node is active, but then another node pops up and you never say why or how.
The other node is just a simple serial node and it's another Color Space Transform as you'll see in the menu on the right :-) The first one is going from DJI D-Gamut and D-LOG into Davinci Wide Gamut and Intermediate and the second one is going from DaVinci Wide Gamut and Intermediate into Rec.709 and Gamma 2.4 as I explain just a couple of seconds later from 1:25 :-) Apologies for not making it more clear - this was one of my earlier videos and I've gotten a lot better at describing all the steps since then :-) Hope that helps. Have an amazing day!
Ugh, that's a question I don't have the answer to I'm afraid. Could be if the actual resolution is higher than 4K or maybe you lack an update? I'm not sure on how to solve this - I haven't had a similar problem, I'm afraid. Hope you find a solution!
hi @Alex Bjorstorp. Im struggling with DaVinci Resolve 18 ouputting dji 3 footage in 3140x2160 but when uploading to RUclips its not full screen ratio there is black likes at each side. please help
Hi! It sounds like the footage is not in 4K (3840x2160) otherwise that shouldn't happen. Does it have the black bars on the sides when you are inside of Davinci Resolve and previewing the footage on the timeline? If yes, then the easiest fix is just to crop (zoom) in a bit till the black bars are gone and that should fix the issue. If that's not the case and it looks fine in Davinci, I'm not sure what's wrong from what you've said in your comment - hope this helps out either way 🙌🏻
@@AlexBjorstorp hi alex thanks for the reply. the resolution coming from the mini 3840x2160 but daV is reading it at 3140x2160 just realised, ill try the correct res.
I cannot import my d-cinelike footage from the dji mini 3 pro into davinci resolve. Only the videos taken in normal mode. Do you know the solution to this problem?
Don't know if you have found the solution to this yet, but I had the same problem. The issue was that the free version of Davinci doesn't read d-log footage. I paid for the studio version and now have no problem.
I personally found more pleasing to convert my DJI Dlog M to DJI/Canon Log 2. Davinci DJI profiles are waaaay too strong. Looks the same but leave little more space to work with. Cool video !
I used to like the conversion but in recent time I have had the same issue to be honest. I'll definitely test out using the CLOG2 conversion instead - appreciate the tip!
@@TheWorldInAFrame66 yeah I’ll experiment with some different conversions and see what brings out the best colours and balance from the get go! Cheers!
Interesting! I've been thinking the same so I started converting the D-Cinelike from REC709 to DWG instead. Works really well, but you will have to crank the Color Boost a little.
All that fidgeting with color spaces is completely pointless and counterproductive at this stage. Might not come out in this darkish footage, but what happens is that conversons mess up the color mapping, and you get some colors hyperstaurated, others untouched, another desaturated, basically impossible to make it right. With DJI drones' log it's usually the lit vegetation becoming this awful flourescent green you see all over youtube drone vids, becasue everyone just copies these tutorials. In the end you see people in the 'tutorials' create a gazillion nodes to get it under controll, but it never works because no matter what method you use to desaturate the lit green, some other colors will become dead. In reality you can skip the whole thing and grade most footage with a couple nodes.
@@AlexBjorstorp Just about anything I do with my time is better spent than adding one more dropping to the 100000000000 utube colordgrading-buymyluts tutorial anthill for a couple of likes.
Like writing essays on RUclips videos about how bad they are without providing a better solution to the problem you’re complaining about? Alright mate. Have a wonderful day :-)
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
Didn’t know the tracking trick by using frame. That’ll be helpful in the future!
I need to go to Italy too! Haha
It's a pretty good trick for some instances, like the one in this video! Sometimes it's better to track manually instead of relying on all the technology haha! Cheers man!
Love this method! Davinci Resolve is such a powerful tool to use for color grading Drone footage. Thanks again Alex!
You're welcome! Glad to hear you found it useful!
Amazing, learned a lot! Please keep on creating DaVinci Resolve tutorials, thank you Alex!
Cheers man! I will 🙌🏻
Amazing work as usual! I'm learning so much from your videos and it'll help me take my work to the next level. I appreciate you
Love to hear that man! Keep going! 🙌🏻
Thank you Mr. Alex! you are life saver and footage saver! your CST-DWG made grading so nice. I was not happy with just CST D-Log on my Mavic Air2S Footage. with very strong and punchy contrast and color and magenta tone overall. my footage looks crap. But your workflow helped me liking my footage!
Great content!
Awesome! Love to hear that! Keep up the good work!
Such a good tutorial! I randomly saw your insta reel video and came to check out your RUclips, instant subscriber 😎 such quality content learned a lot from just this one video
Awesome man! Love to hear that, thank you!
Amazing work! I've been struggling with grading the M3P so this was super helpful. Thank you 🙏
Super happy to hear that! Hope you're getting your footage looking amazing now!
@@AlexBjorstorp I have the perfect project to try your process out on. Will link when I publish it :P
@@storybydanehav awesome! Can't wait to see it man!
I was searching for a D-Cinelike grading technique for a long time and finally found it. Thx man. I got a lot of footage from Mini 3 Pro, and now I know how to deal with it.
Awesome! Love to hear that!
Hello, love your video... talking about CST on DJI clips, you tried to use
DJI + Gamma 2.4 - DWG + Gamma 2.4
and for CST Out
DWG + Gamma 2.4 - Rec 709 + Gamma 2.4?
Thank you!
Nowadays I mostly use DJI Gamut with Canon Log and then usually to DWG first before turning it into Rec.709 Gamma 2.4 in the end 😊
Very nice tutorial! I haven´t really got the hang of the CST yet, so your approach with the two steps was very interesting. I´ve tried only the one step from input DJI D-Log directly to Rec.709 but didn´t like the results.
I recently got told to try and use Canon Log instead of D-LOG in the Input Gamma and I actually really like the results of that. Keep it as DJI D-Gamut in the Input Color Space. It's a bit less stronger than the DLOG conversion and makes it easier to work with the footage :-)
Thank you so much for that usefull tutorial.
It's an absolutely excellent presentation of the material and more fine-tuning than others offer
I think you can make paid course based on that knowledge.
Love to hear that man! Super happy it was useful for you!
Great work Alex!
Appreciate it! Thank you!
What are your project settings?
The bitrate is only important at export. For project settings, I always use 4K and 29,967 FPS, as that's what I shoot and that works best across all platforms.
For export settings, I got a video on that, if you search my channel for "best export settings for reels"
Hope that helps!
Very helpful and detailed tutorial! One question, what Color Management are you using? Devinci YRGB Color managed and Wide Gamut Intermediate?
Thank you! I don't do much in my Color Management settings since I do it all in the nodes with Color Space Transforms, so it doesn't matter much. Although I do often set my timeline settings to DaVinci Wide Gamut / Intermediate and my output is always set to Rec.709 Gamma 2.4 - but again in matters less when you manage it all within the nodes. It's good practice to have it set up though and the Timeline Color Space might influence some of the tools slightly :-)
I hope that helps!
Hey! I noticed you chose REC 709 for both your color space and output. Just curious, any specific reason you didn't go with Gamma 2.4 for the gamma? Totally get the REC 709 choice for color space though!
Rookie mistake of an old video! I would definitely choose Gamma 2.4 in the Gamma now 🙌🏻
@@AlexBjorstorp Thank. you, and for the input color space would you still go with DJI D-GAMUT AND D-LOG or not
You're welcome! I use DJI D-GAMUT and CANON LOG now, as the D-LOG profile always converts pretty harshly and since I had it recommended to use Canon Log instead, I've been doing that and been getting better results as it's a softer conversion!
Giusto, perché D-log non è D-cinelike e neanche D-logM sono in realtà dei REC 709 un po' piatti... Per loro sono meglio le Lut ufficiali di DJI.
Thanks dude, need more tutorial like this..
You’re welcome! Got a few already but there will definitely be more in the future!
Great videos! I have the mini 3 pro and Mavic 3 so this was nice to see especially as far as how to set the color spaces. I am new to this so the color space alone is a lot. Do you have any advice on exporting? I have found it never looks like the edit which negates the subtleties when editing. It's really frustrating. The best luck I've had to keep the saturation I want is to match the output node (Rec 709 and Gamma 2.4) however, there is still more contrast and less details in the shadows!
Most commonly I see this issue come to life if you display is not set to Rec.709. Now, I don't know what you use to edit but a lot of screens can be changed into Rec.709 - it might look a bit more flat at first when you switch but when you edit with the correct display settings, you should also find that your grade is correctly represented afterwards. That's at least what's fixed it for me.
If your display has the wrong settings, you're grading in the Rec.709 but not correctly shown what it looks like.
Just remember that if you transfer it to a phone or something after, usually those displays are not set to Rec.709 and therefore it might be slightly different again.
Hope it makes sense and helps 🙌🏻
@@AlexBjorstorp Thanks for the reply. I appreciate it. That makes sense but I am exporting and viewing them side by side on an M1 Macbook so shouldn't the image look the same exported as in the editor regardless of display setup?
@@wiltonbrosphoto no, for some reason it doesn’t - I don’t know exactly why but I’m assuming it’s because the rendering makes it actual rec.709 after and that makes a difference. If it’s a MacBook Pro you can change the display settings to view sRGB, Rec.709 or BT709 (all the same), that should hopefully fix it for you in and post editing ☺️
@@AlexBjorstorp awesome. Thank you!
@@wiltonbrosphoto you’re welcome 🙌🏻
dam! that was good!
Appreciate it!
Dude! At 1:25 you are clicking and doing things but you aren't saying what you are doing, or why. Where did the other node come from? Which node is getting the DJI D Gamut and DJI D-log? You are Choosing them while only the 1st node is active, but then another node pops up and you never say why or how.
The other node is just a simple serial node and it's another Color Space Transform as you'll see in the menu on the right :-) The first one is going from DJI D-Gamut and D-LOG into Davinci Wide Gamut and Intermediate and the second one is going from DaVinci Wide Gamut and Intermediate into Rec.709 and Gamma 2.4 as I explain just a couple of seconds later from 1:25 :-)
Apologies for not making it more clear - this was one of my earlier videos and I've gotten a lot better at describing all the steps since then :-)
Hope that helps. Have an amazing day!
Amazing work!! ❤
Thank you!
Davinci doesn't see my *.MOV (4K, D-Cinelike) files. What should I do ?
Ugh, that's a question I don't have the answer to I'm afraid. Could be if the actual resolution is higher than 4K or maybe you lack an update? I'm not sure on how to solve this - I haven't had a similar problem, I'm afraid. Hope you find a solution!
hi @Alex Bjorstorp. Im struggling with DaVinci Resolve 18 ouputting dji 3 footage in 3140x2160 but when uploading to RUclips its not full screen ratio there is black likes at each side. please help
Hi! It sounds like the footage is not in 4K (3840x2160) otherwise that shouldn't happen. Does it have the black bars on the sides when you are inside of Davinci Resolve and previewing the footage on the timeline? If yes, then the easiest fix is just to crop (zoom) in a bit till the black bars are gone and that should fix the issue. If that's not the case and it looks fine in Davinci, I'm not sure what's wrong from what you've said in your comment - hope this helps out either way 🙌🏻
@@AlexBjorstorp hi alex thanks for the reply. the resolution coming from the mini 3840x2160 but daV is reading it at 3140x2160 just realised, ill try the correct res.
I cannot import my d-cinelike footage from the dji mini 3 pro into davinci resolve. Only the videos taken in normal mode.
Do you know the solution to this problem?
Unfortunately no, it's not a problem I've had. I've edited D-Cinelike videos and haven't had an issue at all :(
Don't know if you have found the solution to this yet, but I had the same problem. The issue was that the free version of Davinci doesn't read d-log footage. I paid for the studio version and now have no problem.
I personally found more pleasing to convert my DJI Dlog M to DJI/Canon Log 2. Davinci DJI profiles are waaaay too strong. Looks the same but leave little more space to work with. Cool video !
I used to like the conversion but in recent time I have had the same issue to be honest. I'll definitely test out using the CLOG2 conversion instead - appreciate the tip!
@@AlexBjorstorp if you want even less contrast in transformation then clog (1) is even more flat :) again thanks for video
@@TheWorldInAFrame66 yeah I’ll experiment with some different conversions and see what brings out the best colours and balance from the get go! Cheers!
Interesting! I've been thinking the same so I started converting the D-Cinelike from REC709 to DWG instead. Works really well, but you will have to crank the Color Boost a little.
guys there any site that we can download free log videos recorded by good cameras , drones etc , to practice color grading ?
We want the viewer to apply the lesson, thank you🙂
Not sure I understand - sorry! But thanks for watching and I hope it helped you out!
Only 1 clip...in 20 mins...huaaamm
Trying to teach, not go fast 🙌🏻
All that fidgeting with color spaces is completely pointless and counterproductive at this stage. Might not come out in this darkish footage, but what happens is that conversons mess up the color mapping, and you get some colors hyperstaurated, others untouched, another desaturated, basically impossible to make it right. With DJI drones' log it's usually the lit vegetation becoming this awful flourescent green you see all over youtube drone vids, becasue everyone just copies these tutorials. In the end you see people in the 'tutorials' create a gazillion nodes to get it under controll, but it never works because no matter what method you use to desaturate the lit green, some other colors will become dead. In reality you can skip the whole thing and grade most footage with a couple nodes.
You should make a tutorial on that mate
@@AlexBjorstorp Just about anything I do with my time is better spent than adding one more dropping to the 100000000000 utube colordgrading-buymyluts tutorial anthill for a couple of likes.
Like writing essays on RUclips videos about how bad they are without providing a better solution to the problem you’re complaining about?
Alright mate. Have a wonderful day :-)
@@AlexBjorstorp That took 2 minutes. It's also the tutorial. :D