DJI Inspire 3 footage

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.


Thanks a bunch @PlaceYourBetts, @finnjaeger and @RufusBlackwell
Super helpful!

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).


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: