Hello,
Does someone know what are the color space options if shooting cinemaDNG D-Log? (from DJI Inspire 3).
Are there IDTs somewhere?
Also, can resolve 18.5 on mac read prores raw coming from this camera? Doesn’t work for me. Baselight can read the files.
@RufusBlackwell deals with these cameras a lot.
He helped me out with this DJI Inspire LUT - #2 by RufusBlackwell
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i have not tried to pull in inspire 3 specifically just inspire 2 DNGs
The way to get them into aces with resolve is to decode as linear/P3 add 1.4 exposure in the raw tab and then add a cst node from linear/P3 to ACES.
iirc dji provides a linear->dlog lut if you want to go that way.
for prores raw you wa t to use assimilate scratch
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Hi Stefan
Yeah I do loads of work with DJI Inspires in ProRes RAW.
Resolve seems not to be able to read ProRes RAW, but Adobe Media Encoder can. Resolve can read Cinema DNG files from my Inspire 2, but I’ve never had Cinema DNG from an Inspire 3, only ProRes RAW
I use AME for my ProRes RAW and Cinema DNG Transcodes, these are the settings I use:
That’s basically the default settings for a ProRes 4444 transcode apart from the highlighted elements. What you are looking for is a ProRes file with the original LOG look, not a process that has de-LOGd it.
If you need an uncompressed pipeline then you can transcode to EXR. I haven’t done that for a while, but if you do make sure you select this option, to stop an internal linear conversion:
Then you can load your LOG ProRes or EXRs in to Flame to convert in to a normal colourspace. I do a lot of this, so I’ve made a vid of my favoured processes, not sure if it is applicable to what you’re doing, but here it is:
Here are the LUTS, the ProRes RAW and my transcode of the tennis court stuff, in case anyone wants to have a play, or to compare their RAW transcode process to mine.
Edit to add @finnjaeger 's process is probably way more technically correct than mine. Mine is purely about making it look the way I want it to look.
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Hi guys,
i’ve been dealing with some dji footage in these days and I’d like to suggest a few tweaks to what @RufusBlackwell is suggesting. In my case i had some footage shot with dji in apple Prores RAW. By using just AME i always ended up loosing info. The way i think i got it work is by going into premiere, double clic on the footage and going into effect control of the clip. Under source of that pannel you can handle prores RAW source setting and bring it to D-gamut/D-log colour space.
By default, in my case, source setting was set on BT709 that had highlight totally clipped.
From there i exported exr 16bit with AME (remember to check “bypass linear conversion” as @RufusBlackwell wrote)
In flame you can use the lut from dji website for the specific camera that was use or
ACES_DLog_DGamut ctl to bring it to acec (didn’t have time to test yet).
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hey all,
think I may have stumbled onto a “more accurate” way of getting DNGs from DJI drones into d-gamut/d-log. I’ve been doing more or less @finnjaeger 's method described above for many years in Resolve of just debayering it in P3 D60/linear, but it always seemed less than ideal to me since d-gamut should really be D65 according to the docs, and after having a hell of a time roundtripping this stuff with another vendor I finally did a deep google and had a bit of a eureka moment that I had to share with some fellow nerds.
basically, resolve can indeed debayer straight to d-gamut/d-log, but the camera model EXIF info that DJI is putting in the DNG headers is not what Resolve wants it to be, so it doesn’t detect it as DJI footage and you only get P3/Rec 709/sRGB options. If you just change that exif tag, Resolve can detect it as d-gamut/d-log on import.
On the inspire 3 all it takes is stripping the “DJI” from the UniqueCameraModel tag. For example, if I look up the Unique Camera Model for one of the DNGs in exiftool I get:
Unique Camera Model : DJI FC4280
If you set this to be FC4280 then when you pull it into resolve it will give you d-gamut and d-log options in camera raw. very easy with exiftool:
./exiftool -UniqueCameraModel=FC4280 -m /path/to/DNG/frames
Be careful since this will actually modify your source files, I did it to dupes, but lo and behold:
all credit goes to this forum post:
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that is neat, i was never sure in how to get that to show up! Ive gotten some shots from DJI where this in fact worked out of the box
thank you again, used this sucessfully today, its the exact same result as the linear to DLOG lut from DJI, but obviously this is MUCH cleaner, i was however expecting them to somehow bake in that 1.4x exposure that they want you to put in .
this is very very cool thanks again!
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Just had to deal with DJI Prores RAW footage and went the AME/Premiere way with the source setting thingy, works great, thanks for sharing that. (I rendered to exr, bypassing the linear transform)
However that would still need to go through something to convert from DlogDGamut since I couldn’t find an ACES IDT for flame. But luckily what they call source setting is in fact the output color space, so setting it to SLog3SGamut3 worked like a charm, just tagged it accordingly in Flame and voila. Perfect match with Baselight transcode, or to AME to Dlog + Resolve to ACEScg.
Here is a dctl IDT for resolve:
IDT_DJI_DLog_DGamut
You need to add that line at the top: DEFINE_ACES_PARAM(IS_PARAMETRIC_ACES_TRANSFORM: 0)
Then drop it in resolve’s IDT folder and restart resolve.
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