Yep Dlog-M is a REC 709 colour profile. And what's worse, its awful to colour match Dlog-M with any footage filmed in another camera's colour profile either a REC 709 or LOG colour profile. May I suggest that you consider using Gamma 2.2 rather than Gamma 2.4? Gamma 2.4 is designed for people grading on very expensive Reference Monitors, and if you have an expensive Reference Monitor around £30k then Gamma 2.4 is the way to go. This is probably why people keep talking about Gamma 2.4, because they keep hearing about this Gamma Curve from professional colourists. However Gamma 2.2 is for domestic computer monitors, Tablets, phones and TV's because people view them in brighter locations that Colourists who grade in dark environments. What's more when publishing content to places like RUclips then RUclips requires Gamma 2.2. So if you are working on a desktop monitor and publishing to Social Media like RUclips then Gamma 2.2 is the way to go. You can test this theory out by viewing the waveform of a clip in gamma 2.2 and 2.4 and see the difference in the waveforms.
Why not saving the original Osmo Pocket 3 Dji D-Log M in combination with Transform DWG Intermediate as a 65 Point Cube Lut. In this case you are always ready to go with the compressed color space by just adding one Lut in the first node. - And of course transfer it back to Rec 709 at the end of the pipeline.
Great video. Question - why you choose to use color transform and various color grading to color grade D-LOG M footage instead of using the DJI DLOG M LUT published by DJI? Is it just a personal alternative or you feel gets better results than using the LUT? Thanks!
Jason your narration style is amazing along with all the details you provide. Thank you truly. Please keep it up. Cheers from Russia. I'm actually now more facing HLG space, I dunno for me it gives better results even when you finally convert it to rec709, BUT it looks absolutely amazing on HDR monitor, like these vibrant bright live colors, not so much when you convert it to SDR youtube content :) I'm on Pocket 3 btw, but also I have Air3 drone as well, where the same is true
@@JasonRobertsVideo Super will wait for the bell to ring :) actually for HLG I'm now using primary wheels as a basic exposure correction, then LOG wheels and finally HDR wheels as well for fine tuning. that provides more flexibility for me personally. From what I know it has different math behind it and it gives slightly different results for each of them which gives you that flexibility.
Thank you for producing the video. What I was curious about was that I didn't use the lut provided by dji I wanted the idt and odt method using davinci's wide gamut I wonder if idt doesn't use dji d-log for input color and gamma values!? idt value input color : dji d-log input gamma : dji d-log output color : davinci output gamma : davinci odt value input color : davinci input gamma : davinci output color : rec709 / rec709a / gamma 2.4 output gamma : rec709 / rec709a / gamma 2.4 I thought like this.
@@JasonRobertsVideo D-log, d-log m is different There's a bit of color in the blog I'll try to do what you uploaded I was worried because the color kept changing. To put lut for pocket3 provided by dji here Should I set idtodt and put it in the back as you told me in the video!?
Im so confused about DJIs D-Log M. In case for the Osmo Action 4, it says it records in 10 bits, but afaik Rec.709 is only 8 bits, right? Shouldn't it be recording Rec.2020 then?
Would changing the CST from the node (Rec709) to Rec709-A instead of Gamma 2.4 would help for Mac users to remove the washed out images after exporting? Would that do the trick? Or are there any other settings so I can keep the Gamma 2.4 in the CST output gamma?
Yep Dlog-M is a REC 709 colour profile. And what's worse, its awful to colour match Dlog-M with any footage filmed in another camera's colour profile either a REC 709 or LOG colour profile.
May I suggest that you consider using Gamma 2.2 rather than Gamma 2.4?
Gamma 2.4 is designed for people grading on very expensive Reference Monitors, and if you have an expensive Reference Monitor around £30k then Gamma 2.4 is the way to go.
This is probably why people keep talking about Gamma 2.4, because they keep hearing about this Gamma Curve from professional colourists.
However Gamma 2.2 is for domestic computer monitors, Tablets, phones and TV's because people view them in brighter locations that Colourists who grade in dark environments.
What's more when publishing content to places like RUclips then RUclips requires Gamma 2.2. So if you are working on a desktop monitor and publishing to Social Media like RUclips then Gamma 2.2 is the way to go.
You can test this theory out by viewing the waveform of a clip in gamma 2.2 and 2.4 and see the difference in the waveforms.
I could not figure out why CST with DJI-D-Gamut and DJI D-Log was looking like crap! Thanks for clearing that!
No problem - glad to help :) :)
Should sharpen be in the front of the nodes or at the end? Thx
Why not saving the original Osmo Pocket 3 Dji D-Log M in combination with Transform DWG Intermediate as a 65 Point Cube Lut. In this case you are always ready to go with the compressed color space by just adding one Lut in the first node. - And of course transfer it back to Rec 709 at the end of the pipeline.
Thank you sooooo much !!!! Had realy terrible colors with the DJI LUT on my Pocket 3. I''m soooo happy with your tutorial. Big bow !!!
Wow thanks so much - glad to help and big bow back haha :) :)
Great video. Question - why you choose to use color transform and various color grading to color grade D-LOG M footage instead of using the DJI DLOG M LUT published by DJI? Is it just a personal alternative or you feel gets better results than using the LUT?
Thanks!
More control when not using the LUT :) :)
This is helpful thanks a lot mate using dji pocket 3 🎉
No problem - glad to help :) :)
Jason your narration style is amazing along with all the details you provide. Thank you truly. Please keep it up. Cheers from Russia.
I'm actually now more facing HLG space, I dunno for me it gives better results even when you finally convert it to rec709, BUT it looks absolutely amazing on HDR monitor, like these vibrant bright live colors, not so much when you convert it to SDR youtube content :) I'm on Pocket 3 btw, but also I have Air3 drone as well, where the same is true
Thanks so much for your kind words, I'm just working on an HLG to HDR color grading video so stay tuned! :) :)
@@JasonRobertsVideo Super will wait for the bell to ring :) actually for HLG I'm now using primary wheels as a basic exposure correction, then LOG wheels and finally HDR wheels as well for fine tuning. that provides more flexibility for me personally. From what I know it has different math behind it and it gives slightly different results for each of them which gives you that flexibility.
Cool - yes there's usually a million different ways to do things in Resolve haha :) :) That's what makes it so powerful I guess! :)
Thank you for producing the video.
What I was curious about was that I didn't use the lut provided by dji
I wanted the idt and odt method using davinci's wide gamut
I wonder if idt doesn't use dji d-log for input color and gamma values!?
idt value
input color : dji d-log
input gamma : dji d-log
output color : davinci
output gamma : davinci
odt value
input color : davinci
input gamma : davinci
output color : rec709 / rec709a / gamma 2.4
output gamma : rec709 / rec709a / gamma 2.4
I thought like this.
D-LOG M is not the same as D-LOG which is a true log format
@@JasonRobertsVideo D-log, d-log m is different
There's a bit of color in the blog
I'll try to do what you uploaded
I was worried because the color kept changing.
To put lut for pocket3 provided by dji here
Should I set idtodt and put it in the back as you told me in the video!?
Thanks for this video. If I wanted to add the DJI D-LOG M conversion LUT, can I add it after the 'to Rec 709' CST?
No. You would use it in a different node tree pipeline instead of the process I am showing in this video.
Im so confused about DJIs D-Log M. In case for the Osmo Action 4, it says it records in 10 bits, but afaik Rec.709 is only 8 bits, right? Shouldn't it be recording Rec.2020 then?
So Dji D log - M is not a log but a rec709 ???
I believe so yes.
What about d cine like what the process for that. Using dji 03 and action 2
I think d cine is also rec.709 (but I'm not 100% sure) and if it is use the same workflow as in this video. :) :)
Thank you so much ! I would like to ask you what kind of setting's do you recommend when working with mini 4 pro's hlg 10 bit footage ?
You're welcome - these 2 vids are what you want: ruclips.net/video/0KgFKD_GzAw/видео.html ruclips.net/video/DPYopzaAn4k/видео.html
@@JasonRobertsVideoThank you so much ! 👍🏽
No worries :) :)
Is this in the free version or studio?
Color grading is in free version with a few limitations like no 10-bit and some effects not available
Would changing the CST from the node (Rec709) to Rec709-A instead of Gamma 2.4 would help for Mac users to remove the washed out images after exporting?
Would that do the trick? Or are there any other settings so I can keep the Gamma 2.4 in the CST output gamma?
Hi as a PC user of Resolve I can't comment but I believe that the -A approach is the correct way to make sure 709 is tagged properly for mac.
Hey, i really would like to thank you. I was looking for this exact settings.
Glad I could help Daniel :) :)
Really helpfull , thanks a ton❤
My pleasure! :) :)
Thanks!
No problem! :) :)
I'm no pro colour grader but you massively crushed those blacks when you compare to the raw. You lost all the detail on the ground.
Just a creative decision while being mindful of shadow noise :) :)