Man you really know your stuff. I'm from the industry and you're the only colorist who has explained CST as it has to be. It is insanely well explained like how i do to budding colorist. There have been occasions where beginners will hate me for using CST in and CST out
Thank you for this - I found that the LUT DJI created made my videos too saturated and dark, especially in warm indoor environments, but never understood how to work the CST. You explained it with such clarity and detail! :)
I need to thank you so much!!!! :) I finally had the time to try it in DVR and the difference is huge. I tried it on my best edit with the standard DJI Conversion lut and my favorite color lut. Your version with the transform looks way better. The skin tones are more natural, the sky is more blue. The objects feel a bit deeper. I tried exact the same settings on my Sony TV and the rec 709 A worked very good. Thank you again so much, can´t wait to re-edit the other shots :) DANKE
Thanks a lot for your comment, I‘m really happy when my videos are helpful and comments like yours are the reason why I keep making stuff on RUclips. Cheers!
Thanks! In low light you see the difference more clearly, although the pocket 3 isn’t bad at all. And yes, I‘m actually thinking of making an iPhone 16 Pro vs OP3 comparison 👍
Yes, it‘s crazy how good the image of the pocket 3 is when the lighting is good. Of course the FX6 has it‘s advantages but overall I‘ll definitely take the pocket 3 with me to a lot more places.
Hmm, something must be different. Have you set the right color settings in the project? So NOT "color managed" but Davinci YRGB? And did you put in the two CSTs in the color page?
Did you see the color bending with the variable nd Filter? Some people reported some color bending at the edge of the picture with the KF variable ND filter. Super video and thanks for showing us DVR :)
Hi! Do you mean vignetting instead of color banding maybe? Vignetting can lead to color banding because it results in darker colors in the edges. And in lower bit footage, these differences can not be shown smoothly, they are shown as bands of colors. No, I‘ve not noticed any vignetting with these filters. I‘ve used the filters on each example shot in this video so you can have a look.
@@RonaldKasper thank you so much for the detailed answer :) You're right. I mean the Vignette. I saw some videos on YT where this happened. But your video is super clean. I'll give them a try 🙂 I have the ND/PL from KF. I'm happy with them. But to have the variable ND would be better :)
Why did You use the DJI D-Gamut input color space as it is something completly different from DJI's D-Log M which is unavailable in DaVinci? Why not use Rec.709 in both input color space and Input gamma?
Because I simply get results that look more like my other cameras (FX6, Sony A7siii). If I‘d use Rec709 in both, I need more work to make them look similar.
@@RonaldKasper a fine answer - the perfectly accurate cst doesnt exist yet - this is the best option ive seen and i think what filmconvert is doing in the plugin - im very pleased. thank you.
Noob here. If you've already set the project settings to Davinci wide gamut intermediate, why do you need to do it again in the first CST with the same setting? I'm confused. I understand your 2nd/last CST but not the first one. Thanks
Because that’s not done automatically by Resolve. It would be done automatically if you set the setting to „Color managed“, but if you set how I did it in the video, you need to transfer it from a normal log footage to the much wider Davinci wide gamut colorspace manually.
What is different when you export your footage and watch it on your phone? In general, phones actually look a bit different than computer screens. Even my iPhone displays it with slightly other colors than my Apple Studio display. You can’t do anything against it. On my iPad it looks more like the Studio Display. In general I export as Rec709-A (because I‘m on a mac) and with 80000 kb/s quality. I use mp4 as format and H264 as codec.
@@RonaldKasper it seems darker then what I’ve seen on my pc. All the extraness and little details I don’t see when I view on my phone areas just look darker but on my laptop it looks amazing
do you stack external VND with internal ND from fx6 with any problem? I get huge colour cast on wide lenses when using pollarizer with internal ND (yellow/blue color cast in the corner of the image). Please let me know how is your experience - maybe there is something wrong with my fx6 :-/
Your FX6 is fine. Unfortunately the problem with internal NDs and external polarizers on the FX6 is a known issue, there is no fix for that at the moment.
@@RonaldKasper I have to try that workflow. But haven't you noticed that CST in davinci converts SLOG3 to REC709 a bit differently than reference Sony LUTS? If I remember correctly the footage looks a bit more magenta/orange. For quick delivery I prefer to avoid CST, I have to check if intermediary changes anything in that regard.
@@JoATTech Well the CST is not only a LUT, it‘s really a mathematical conversion from SLOG3 to whatever Colorspace you want. I always use DAvinci Wide Gamut as target colorspace. Yes, the Sony LUT and the CST don‘t produce the exact same output. But the major advantage of using a CST is that you work in the wider colorspace then. You can‘t do that when you use the LUT. Paired with some minor adjustments (I didn‘t recognize huge color differences between applying a LUT and using the CST) it is worth the extra step. Especially because you can copy the grade from one Clip to every other one (or use groups for multiple clips)
@@RonaldKasper That what I was planned to do in a long run, use groups with input and output CST and then in between nodes for local grades :D. Going to try this workflow in my current project. Thanks :D
Speaking with DJI support I was told that DJI D-Gamut is incorrect. Other details I was told that what comes out of the official LUT is REC709 for color and gamma
Hallo Roland…eine Frage zu deinem verwendeten ND Filter….ist der von Polar Pro???…Kann man den empfehlen???…..es gibt ja gefühlt 1000000 Videos zu ND Filtern……..DANKE!!!!
@@RonaldKasper Hallo…ich habe mir gestern nochmal deine Videos zu Cine EI angeschaut…ich glaube ich verstehe es jetzt!!!!..welche Info meinerseits noch „Offen“ ist? Welchen Wert sollte den der „MM“ jetzt idealerweise anzeigen im Cine EI Modus….auch die 1,7 - 2 Blendenstufen „drüber“ (also wie beim klassischen SLOG3) ???…oder richtet man mit Cine Ei letztendlich alle Werte (Blende, Lichtmenge/ND) so ein…dass der MM Wert „final“ auf „Null“ steht? Vielen Dank nochmal für eine „ergänzende“ Info…dass man mit dem Cine EI-Mous „vorab“ das „finale/in der Post belichtete Video betrachten kann (inkl. LUT Option) + kann ich mit dem CIne EI Belichtungsregler das Bild „heller/dunkler“ machen bzw. verändert man ja nur den „Cine EI ISO WERT“….das verstehe ich soweit….aber wie gesagt fehlt mir noch der „korrekte MM“ Wert…..Besten Dank!!!
…oder spielt es im Prinzip keine Rolle welchen Belichtungsindex der Cine EI anzeigt???….Hauptsache es wird bei 800 ISO „aufgenommen“ ( bzw. 12800 Lowlight)…um den größten „Spielraum“ zu haben????…..aber ich denke schon oder??? Schließlich kann man ja mit der Lichtmenge / Blendenwert die Belichtung in der Kamera anpassen……ISO 800 bleibt ja bestehen…..von daher wird der „Index“ bzw. der „MM Wert“ schon eine Rolle spielen oder? Danke!!!!!!
Yes, It's really amazing how good the image is. If you do heavy color grading or record in low light, the FX6 of course has it's advantages. But we have to keep in mind that a "normally" rigged FX6 is 15 times the price of a pocket 3. So the pocket 3 is really a nice alternative if you want to shoot wide angles.
You are right, thanks for pointing that out. But there’s a simple tool called „handbrake“ where you can convert your 10 bit 4:2:2 footage into 4:2:0 which looks decent as well. Then you can edit it in Resolve.
jedino sto kvalitet samog fajla je daleko bolji i filmicniji kod sony-a ,low light neuporediv...imam fx3 i koristio sam pocet 3 kad se pojavio u kompletu sa mic2...ne zasluzuje paznju za profesionalnu upotrebu. Za putovanja turizam,vlog i amaterizam moze ali za pro upotrebu zna se - pro oprema.
Well yes, I wouldn’t shoot a documentary with it because here I want to have the best codecs and the most possible information in my files. There I use my FC6. But for B-Roll shots (even in professional projects) or for private use it’s perfect.
And it has no xlr inputs, no changeable lens, no timecode, no hdmi out, no dual base ISO, no cine EI, no dual card slots, no manual focus ring, … So it’s very obvious that it’s not an FX6. I hope it was clear that this video was just about the image quality.
@@RonaldKasper You forgot the shutter angle. None of those features you listed are related to the light directly. They are specs for a specific indirect technical option depending on the context in which they are utilized. Any videographer juggling for swapping ND filters are not efficient and amateurish. They use photo camera form factor for videos and then complain how hard it is to control exposure with their 180 degree shutter angle. Before we get to pocket 3 every single photo camera form factor device is a non-starter for ANY video work. They are just toys.
this is not very fair to your FX6 for only using such wide angle shots. when it comes to all other essential focal length for cinematic and b roll, pocket 3 is a ZERO😂 no can do.
@@RonaldKasper that is exactly what in meant. To create something serious, you will need those 35 85 and 135 to tell the story. but i guess i would be very happy with just the pocket on the go. While it’s all about having fun at the moment. So it’s never about image quality, but form factor and usability.
You saved my footage. You earned a sub my friend.
I‘m happy to hear that! Welcome to the channel! 🎆
Man you really know your stuff. I'm from the industry and you're the only colorist who has explained CST as it has to be. It is insanely well explained like how i do to budding colorist.
There have been occasions where beginners will hate me for using CST in and CST out
Thanks man, yes I really like this workflow because it‘s such a breeze to work in Davinci Wide Gamut.
@@RonaldKasper Thank goodness we watched this! Completely changed our slog3 workflow and have immediately seen a difference! Thank you!
Great! I‘m happy it helped! 👍
Thank you for this. I can now make my Pocket 3 footages look much better.
I‘m glad when I could help you out! 👍
This is such a great tutorial and I have not heard this information anywhere else! Thank you so much for the color grading tips!
You‘re welcome, thanks for your comment!
Thank you for this - I found that the LUT DJI created made my videos too saturated and dark, especially in warm indoor environments, but never understood how to work the CST. You explained it with such clarity and detail! :)
Thanks, I‘m happy when my explanations can help!
I FINALLY understood how to make my Osmo 3 clips look good! Thank you!
You are welcome, thanks for watching!
This video is imformative and clear instruction, very helpful!
Thank you very much!
This is what I'm looking for. Thank you very very much for the clarity. Everything about color management is illuminated.
This is a really good option for someone who wants lightweight hiking. Thanks for nice video.
You‘re welcome, and thanks for your comment!
Bro exactly what I was looking for I mean just phenomenal✨️✨️
Hi! Thanks, I‘m happy you liked it!
I've a question, I'm a Final Cut Pro user and wondering if this available in FCP as well? If yes, then can you make a video on that as well?
Do you mean the color space transform? No, that’s only available in Resolve unfortunately.
I need to thank you so much!!!! :)
I finally had the time to try it in DVR and the difference is huge.
I tried it on my best edit with the standard DJI Conversion lut and my favorite color lut.
Your version with the transform looks way better. The skin tones are more natural, the sky is more blue. The objects feel a bit deeper. I tried exact the same settings on my Sony TV and the rec 709 A worked very good.
Thank you again so much, can´t wait to re-edit the other shots :)
DANKE
Thanks a lot for your comment, I‘m really happy when my videos are helpful and comments like yours are the reason why I keep making stuff on RUclips. Cheers!
appreciate the very important tip with the rec709 instead of DLOG in CST... always did this wrong and wondered why my pocket3 footage looks just bad!
Appreciate your comment! It’s always nice to hear when my videos are useful for somebody! 👍
I guessed FX6 is on the left based on DoF of the very first shot, but you could set FX6 to F8, so it was not that obvious :D.
You are right, DOF definitely was different
Great video. Maybe a little low light comparison would’ve been nice. And I hope you make a OP3 X iPhone 16 Pro comparison as well 🙂
Thanks! In low light you see the difference more clearly, although the pocket 3 isn’t bad at all. And yes, I‘m actually thinking of making an iPhone 16 Pro vs OP3 comparison 👍
Grat job thanks for the tutorial
wow this actual blew my mind, i literally couldn't decide which camera was which at the beginning
Yes, it‘s crazy how good the image of the pocket 3 is when the lighting is good. Of course the FX6 has it‘s advantages but overall I‘ll definitely take the pocket 3 with me to a lot more places.
Love the title sequences you used! Wondering what company and title pack you used during this video at various sections? Thanks in advance! 👍💻😎
Hi! I used several titles from different motionvfx packs. But mostly from „mKeyNote“.
@@RonaldKasper - Thanks for taking a moment to share that resource...I appreciate that! Love your videos and tutorials!
Hi.
I did exactly the same adjustments than you and for any reasons there's a difference in the colors, mostly visible on the red roofs... 🤔
Hmm, something must be different. Have you set the right color settings in the project? So NOT "color managed" but Davinci YRGB? And did you put in the two CSTs in the color page?
How to set fx6 and Sony a7iv the same color in standard mode? Easy when shooting slog3 but temperature and iso settings are different in standard mode
Sorry, I never shoot in anything else but slog3. The lack of dynamic range and color grading possibilities in all other modes is a showstopper for me
Did you see the color bending with the variable nd Filter? Some people reported some color bending at the edge of the picture with the KF variable ND filter.
Super video and thanks for showing us DVR :)
Hi! Do you mean vignetting instead of color banding maybe? Vignetting can lead to color banding because it results in darker colors in the edges. And in lower bit footage, these differences can not be shown smoothly, they are shown as bands of colors. No, I‘ve not noticed any vignetting with these filters. I‘ve used the filters on each example shot in this video so you can have a look.
@@RonaldKasper thank you so much for the detailed answer :) You're right. I mean the Vignette. I saw some videos on YT where this happened. But your video is super clean. I'll give them a try 🙂 I have the ND/PL from KF. I'm happy with them. But to have the variable ND would be better :)
Great comparison! Can you share raw files, at least 1 frame of each?
nice video - thanks for sharing it.
You‘re welcome, thanks for your comment!
I have both and love both
Me too!
Me 3
Why did You use the DJI D-Gamut input color space as it is something completly different from DJI's D-Log M which is unavailable in DaVinci? Why not use Rec.709 in both input color space and Input gamma?
Because I simply get results that look more like my other cameras (FX6, Sony A7siii). If I‘d use Rec709 in both, I need more work to make them look similar.
@@RonaldKasper a fine answer - the perfectly accurate cst doesnt exist yet - this is the best option ive seen and i think what filmconvert is doing in the plugin - im very pleased. thank you.
You're really making me want to buy a pocket 3 as a B-cam...
That wouldn’t be a bad idea 😉 Link is in the description 😂
Wow. Thank you so much. I assume this will work with DJI drones and their footage in D-LOG right?
Yes, you can grade drone footage or footage of the Action4 the same way.
Noob here. If you've already set the project settings to Davinci wide gamut intermediate, why do you need to do it again in the first CST with the same setting? I'm confused. I understand your 2nd/last CST but not the first one. Thanks
Because that’s not done automatically by Resolve. It would be done automatically if you set the setting to „Color managed“, but if you set how I did it in the video, you need to transfer it from a normal log footage to the much wider Davinci wide gamut colorspace manually.
Thanks. Have you noticed even if you choose rec 709- A there's still a slight color change from davinci to the final video?
@ No I haven’t noticed that yet. The colors are quite accurate.
Thanks for the reply. Would you mind sharing your Deliver/ Export settings pls? Thanks
What do the export settings look like? I spend a lot of time color grading and don’t get what i edited on my phone
What is different when you export your footage and watch it on your phone? In general, phones actually look a bit different than computer screens. Even my iPhone displays it with slightly other colors than my Apple Studio display. You can’t do anything against it. On my iPad it looks more like the Studio Display.
In general I export as Rec709-A (because I‘m on a mac) and with 80000 kb/s quality. I use mp4 as format and H264 as codec.
@@RonaldKasper it seems darker then what I’ve seen on my pc. All the extraness and little details I don’t see when I view on my phone areas just look darker but on my laptop it looks amazing
beneficial video!
Thanks a lot!
do you stack external VND with internal ND from fx6 with any problem? I get huge colour cast on wide lenses when using pollarizer with internal ND (yellow/blue color cast in the corner of the image). Please let me know how is your experience - maybe there is something wrong with my fx6 :-/
Your FX6 is fine. Unfortunately the problem with internal NDs and external polarizers on the FX6 is a known issue, there is no fix for that at the moment.
Nice tutorial. Do you use same grading workflow for your FX6 footage (2 color space transforms)?
Thanks! Yes, it’s the same. Of course I convert from slog3/sgamut3.cine there.
@@RonaldKasper I have to try that workflow.
But haven't you noticed that CST in davinci converts SLOG3 to REC709 a bit differently than reference Sony LUTS? If I remember correctly the footage looks a bit more magenta/orange.
For quick delivery I prefer to avoid CST, I have to check if intermediary changes anything in that regard.
@@JoATTech Well the CST is not only a LUT, it‘s really a mathematical conversion from SLOG3 to whatever Colorspace you want. I always use DAvinci Wide Gamut as target colorspace. Yes, the Sony LUT and the CST don‘t produce the exact same output. But the major advantage of using a CST is that you work in the wider colorspace then. You can‘t do that when you use the LUT. Paired with some minor adjustments (I didn‘t recognize huge color differences between applying a LUT and using the CST) it is worth the extra step. Especially because you can copy the grade from one Clip to every other one (or use groups for multiple clips)
@@RonaldKasper That what I was planned to do in a long run, use groups with input and output CST and then in between nodes for local grades :D.
Going to try this workflow in my current project. Thanks :D
Love this!!
Thanks a lot!
Speaking with DJI support I was told that DJI D-Gamut is incorrect. Other details I was told that what comes out of the official LUT is REC709 for color and gamma
Thanks for your message! But with the values shown in the video I got the most similar image compared to the FX6. So that’s what works best for me.
Le Sony fx 6 ❤
Great
lve it~ useful ! godspeed!
Thanks!
Im doing a doc right now and doing broll with the Osmo
I will do the same in 3 weeks 😉👍
Superb
Thank you!!
Hallo Roland…eine Frage zu deinem verwendeten ND Filter….ist der von Polar Pro???…Kann man den empfehlen???…..es gibt ja gefühlt 1000000 Videos zu ND Filtern……..DANKE!!!!
Hi! Ich heiße eigentlich „Ronald“ 😉 Ich erwähne den Filter im Video, es ist ein K&F Concept Filter, der Link dazu ist in der Videobeschreibung. Ciao!
@@RonaldKasper Sorry für den „Namen Patzer“….Vielen Dank“““
@@pictureworld-DG 😉 kein Thema
@@RonaldKasper Hallo…ich habe mir gestern nochmal deine Videos zu Cine EI angeschaut…ich glaube ich verstehe es jetzt!!!!..welche Info meinerseits noch „Offen“ ist? Welchen Wert sollte den der „MM“ jetzt idealerweise anzeigen im Cine EI Modus….auch die 1,7 - 2 Blendenstufen „drüber“ (also wie beim klassischen SLOG3) ???…oder richtet man mit Cine Ei letztendlich alle Werte (Blende, Lichtmenge/ND) so ein…dass der MM Wert „final“ auf „Null“ steht? Vielen Dank nochmal für eine „ergänzende“ Info…dass man mit dem Cine EI-Mous „vorab“ das „finale/in der Post belichtete Video betrachten kann (inkl. LUT Option) + kann ich mit dem CIne EI Belichtungsregler das Bild „heller/dunkler“ machen bzw. verändert man ja nur den „Cine EI ISO WERT“….das verstehe ich soweit….aber wie gesagt fehlt mir noch der „korrekte MM“ Wert…..Besten Dank!!!
…oder spielt es im Prinzip keine Rolle welchen Belichtungsindex der Cine EI anzeigt???….Hauptsache es wird bei 800 ISO „aufgenommen“ ( bzw. 12800 Lowlight)…um den größten „Spielraum“ zu haben????…..aber ich denke schon oder??? Schließlich kann man ja mit der Lichtmenge / Blendenwert die Belichtung in der Kamera anpassen……ISO 800 bleibt ja bestehen…..von daher wird der „Index“ bzw. der „MM Wert“ schon eine Rolle spielen oder? Danke!!!!!!
Wow now I can finally get acceptable dynmamic range out of the pocket. I got it too look 10x better. I cant stand blown out skies.
That‘s great, I‘m happy when the video helped.
great video
Thank you, I had fun making it!
Good vid but I'll stick wh auto n rec 709. Here a sub tho. Thanks.
Omg, I genuinely thought the one on the right was the best.
Yes, It's really amazing how good the image is. If you do heavy color grading or record in low light, the FX6 of course has it's advantages. But we have to keep in mind that a "normally" rigged FX6 is 15 times the price of a pocket 3. So the pocket 3 is really a nice alternative if you want to shoot wide angles.
Even on a 24-inch SDR monitor, they look 98 % the same
Yes, I was very surprised by the quality as well.
Davinci free do not support 4:2:2 10 bit color space. 🤷♂️
You are right, thanks for pointing that out. But there’s a simple tool called „handbrake“ where you can convert your 10 bit 4:2:2 footage into 4:2:0 which looks decent as well. Then you can edit it in Resolve.
But it doesn’t have the same dynamic range than am i wrong? Still nice to know that thanks.
you will hardly notice any difference with the pocket3 footage between these codecs. 4:2:0 has a bit less color information.
Thanks for the info. Cheers ✊
jedino sto kvalitet samog fajla je daleko bolji i filmicniji kod sony-a ,low light neuporediv...imam fx3 i koristio sam pocet 3 kad se pojavio u kompletu sa mic2...ne zasluzuje paznju za profesionalnu upotrebu.
Za putovanja turizam,vlog i amaterizam moze ali za pro upotrebu zna se - pro oprema.
Well yes, I wouldn’t shoot a documentary with it because here I want to have the best codecs and the most possible information in my files. There I use my FC6. But for B-Roll shots (even in professional projects) or for private use it’s perfect.
Pocket 3 doesn't have auto ND. Conversation is over.
And it has no xlr inputs, no changeable lens, no timecode, no hdmi out, no dual base ISO, no cine EI, no dual card slots, no manual focus ring, …
So it’s very obvious that it’s not an FX6. I hope it was clear that this video was just about the image quality.
@@RonaldKasper You forgot the shutter angle. None of those features you listed are related to the light directly. They are specs for a specific indirect technical option depending on the context in which they are utilized. Any videographer juggling for swapping ND filters are not efficient and amateurish. They use photo camera form factor for videos and then complain how hard it is to control exposure with their 180 degree shutter angle. Before we get to pocket 3 every single photo camera form factor device is a non-starter for ANY video work. They are just toys.
this is not very fair to your FX6 for only using such wide angle shots. when it comes to all other essential focal length for cinematic and b roll, pocket 3 is a ZERO😂 no can do.
Well it would be unfair to compare a fixed focal length camera with a zoom lens 😉
@@RonaldKasper that is exactly what in meant. To create something serious, you will need those 35 85 and 135 to tell the story. but i guess i would be very happy with just the pocket on the go. While it’s all about having fun at the moment. So it’s never about image quality, but form factor and usability.