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I hope to do a video soon about matching iPhone Log and drone footage in D-Log. It's all about a good starting point (good exposure, enough light), and then making sure to use the correct colormanagement. Also don't expect to push phone and drone footage as much due the smaller sensors. Hope that helps a bit. Thanks for watching.

Welcome, and thanks for watching. I will continue to make videos focusing on correct colormanagement which is the most important thing to do right before grading, no matter what Log space you're shooting in.

Glad you liked it. I’ll make more related to drone video and Resolve soon. Thanks for watching.

Sorry about that. Edited on ver. 19 Beta, and made sure it was set to two channels before I started editing. But not after rendering. So maybe a beta bug. I will do better next time.

Yeah, although I mention it in the description, I could also have mentioned it in the beginning of the video. I'll make sure to include that moving forward. Thanks for watching.

I thought this was a pretty detailed intro of the tool, but please let me know if you have any specific questions and I might be able to answer those. Thanks for watching.

@@Resolve_This plz make a small complete color grading using this tool.

@@OksanaNagorna Send me an e-mail and I'll be happy to help further.

Yes, you can use CST's and a LUT, but you have to place the LUT in the right place in the pipeline. The LUT should have information of what input it expects, and what it outputs. Many LUT's will output rec.709, so you'll most likely do your primary grades before the LUT, and then you don't need to do another output CST if the LUT already takes care of that. Hope that helps.

Do you have the audio track selected? Audio does not have frames, but samples.

@@Resolve_This I probably did. I have now enabled Show Duplicate Frame. Thank you 🙏🏼.

That’s so good to hear. Thanks for watching.

Exactly. That also tripped me out in the beginning. Thanks for watching.

I’m glad to hear that and thanks for watching.

The UI will scale down if you're on a smaller resolution display, which may explain why you're not seeing the Color Slice and Primaries at the same time. On large resolution displays the UI 'expands' out. Hope that helped and thanks for watching.

Not sure if it’s still a bug, but last I checked, DJI showed the exposure according to the display LUT, and not the true exposure, which of course is a major flaw. Perhaps try to exposure to the limit of overexposure with the Display Lut on/off and see if that makes a difference?

Great to hear! Thanks for watching.

I have a dedicated 'Highlight' button on Streamdeck, but it seems a bit strange you can't lock the Highlight button when you're already using the cursor on it anyways. Hopefully it will change.

Glad to hear that. Thanks for watching.

You can export it like any other LOG footage, to Rec.709, gamma 2.4 or what ever you need. The most important thing is getting the colormanagent right to begin with. Hope that helps.

You're welcome and glad to hear you found it helpful. Thanks for watching.

@@Resolve_This - I purchased DaVince Resolve 19, and I'm trying to learn how it works. I don't see the Color Slice ICON on my view. Is there some preference that I must select to see it?

No, it’s on the Color page and as pointed out in the video. Are you sure you didn’t download ver. 18 by accident?

That would be a VERY good idea. 19 is in the first beta version. Also remember that projects created in 19 can not be opened in 18 if you need to go back. Here's a quick video showing how to backup databases and restore projects: czcams.com/video/BRMnETznjXs/video.htmlsi=6pL4o-ILefl1Iv7R Hope that helps.

Ha, Sorry about that. Edited on ver. 19 and made sure it was set to two channels before I started editing. But not after rendering. So maybe another beta bug. I will do better next time 🤞

@@Resolve_This No worries, just pulling your leg.

@@itslucasyap No worries. I shouldn’t have let that slip and unfortunately YT won’t let me change it now.

Sorry, I am Mac only and have no idea about anything related to Window pc’s. You should check out Blackmagic’s recommended requirements. Good luck.

Totally agree on the indicator lines. Imagine if the wheel automatically scaled up, and the Highlight mode turned on/off automatically as you adjusted the center range? I’m so used to Highlight mode on my panel or Streamdeck, so it’s no issue for me, but since the icon is so close to the center adjustement it would be great if it stayed on. Oh well. Thanks for watching and I’m very curious to check out the Face tracker as well. Might be next. 🤚

Sorry about that. Annoyingly this happens sometimes if I’m not careful when tweaking audio. Will do better next time 🙏.

Happy to hear that and thanks for watching. More similar coming up. Safe landings.

I prefer D-Log over D-Log M. Unfortunately DJI's colorscience is wacky. D-log M is NOT the same on a Mavic 2, P4P or Mavic 3. DJI has not released a white paper on D-Log M. It's the Wild West. I know an independent developer who is making a 'correct' technical conversion LUT for the Mavic 3's. I'll post about that when it's ready. Stay tuned. And I agree, the sweet spot for me is f/4.5-5.6 and I always try to stay within that and be very carefull with exposure. Noise is always an issue on these smal sensor, and buying Hasselblad didn't do much good for DJI's colorscience team yet. I see a lot of tint and colors that are not accurate, but fingers crossed that it will improve. Hope the input helped a little bit. Safe landings.

Thank you buddy

Thank you, Stefan.

Thank you. I will post a video as soon as I can get my hands on a proper D-Log M conversion LUT.

Maybe you changed the order of the video tracks? If you follow the guide it should work.

Thanks for watching. If you right-click on a project in the Project Manager you can close it from there. If you have several projects open, you can close them from File>Close Project. I think it's a feature not to automatically clear the cache, but recently the option to manage your cache has been added via Playback>Delete Render Cache> where can choose 'All' etc. or 'Manage Cache Data'. Since this video was made Blackmagic has moved the locations of some settings around in the UI. But stay tuned as I'll update this video with ver. 19 which is expected out very soon (in beta). Hope that helps.

@@Resolve_This , thanks! I appreciated that. Can't wait for the update. Since we are here, just want to share one more observation: how simple in pr pro it is to remove green background - ultra key. It is not that same simple in DaVinci.

I have the same drone and can relate to your frustration. DJI has made a mess here. Even D-Log M is different between M3P and M2P ie. The best solution I have found so far, is to bring both the regular 'D-Log' and the 'D-Log M' into Davinci Wide Gamut/Davinci Intermediate and grade it and output both to Rec.709/Gamma 2.4. To do so correctly, you'll need to install a DCTL (requires the Studio version) and use that to transform D-Log M correctly into DWG/DI. I use a DCTL - full credit to the amazing developer Thatcher Freeman - that will convert it correctly, or as correct as you can at the moment. You can download it for a limited time here: we.tl/t-Q29HYZXE53 Hope that helps.

@@Resolve_This that’s brilliant thank you I will try that. You should maybe do a tutorial on that it would help a lot of M3P pilots buddy

@@DavieMorgan I'm working with the developer of the DCTL to do just that. Btw, just noticed that the main camera (M3C) also supports D-Log M now. So if we can have a 'correct' transformation to DWG/DI, then it should work for all the cameras and hopefully make shot matching easier. Stay tuned.

@@Resolve_This that will be awesome. I will look forward to seeing that tutorial. That will benefit a lot of Mavic 3/ Mavic3 Pro pilots. DJI and Davinci certainly need to work together a bit better as far as CST profiles are concerned

I’m not too familiar with Win machines, it’s definitely in the lower range, but you might able to do HD work if you don’t use too many effect. Best of luck.

I'm so glad to hear that. It makes me happy when others find my videos helpful. Catch you on the next one.

I take that as a compliment ;-) Thanks for watching.

Thank you so much for your kind words. Means a lot.

Gracias por ver. And thank you for your comment. Much appreciated.

No problem. Thanks for watching.

Happy to hear that and thanks for watching.

Great to hear!

That’s true. There are just too many differences to mention them all so I had to choose. Thanks for watching.

You're welcome!

Congratulations. Yep, no subscriptions with Davinci Resolve. Blackmagic has announced, that they will never do subscriptions and so far all updates have been free. No promise that will ever change in the future, but there's no talk about anything other than free updates for now. I'm running on a license bought for Resolve 12.

Glad to hear that. Thanks for watching 👋

Thanks for watching and commenting. 1) Because H.264/H.265 codecs are highly-compressed and not suited for editing/grading, they can slow down playback. To work around this limitation, you could transcode(export) these to a much more edit-friendly format like Prores (use the original file name), then bring the Prores files back in. Also H.264 can be bad for sound sync, since there's no embedded timecode. Depending on what you do, your M1 may be fast enough to work smoothly on H.264/5, but if you have issues/slowdown then try this. Prores is always much faster to work with than H.264/5. 2) After editing you can export to any codec you like. It depends on what gives you the best result and what you actually need. For CZcams H.264/5 is usually good enough, but if you really need the optimal quality try Prores. Just know that CZcams will take much longer to process it. But always try to upload in 4K (UHD). Hope that helped. Happy grading.

Many thanks as always, Been trying to find out what all the settings in the export tab are, including the advanced ones. Thanks again@@Resolve_This

Thank you for the reply as always. @@Resolve_This

Thanks for watching. Unfortunately not. Magic Mask uses the Neural Engine (just like Depth Mask ie.) which is a Studio feature only.

@@Resolve_This 😞 Oh, darnnit. Thanks for the clarification.

@@houamua Yeah I know. But if you consider buying the Studio version there’s so many upsides that you won’t regret it. I made a video of some of the biggest differences here: czcams.com/video/5qBkyCfxBXc/video.html Best of luck.

Thank you, much appreciated. Finding the right balance between going in depth and also keep a pace that satisfies most viewers is a tricky thing. The checkbox for 10-bit precision, only appears on macOS installations of DaVinci Resolve. Turning this checkbox on lets DaVinci Resolve display 10-bit images in the Viewer. So for a M1 MacBook Pro leave it ticked. Hope that helps.

Tak skal du have 🙏

The scopes are showing your output colorspace, so if you turn a Rec.709 transform off/on, you can see the scopes change. In the CIE scope you can go to the scope settings and add additional gamuts (like Davinci Wide Gamut). It will also show you the output color space. Hope that helps. Happy grading.

@@Resolve_This thanks, that’s helpful. I have enabled the the DWG in the CIE graph and the extent of that is shown as expected. However, my gamut is still being clamped by the smaller Rec.709 extent. So the DWG is redundant - is this right?

@@lombardy3274 That's most likely because you're working color managed and your output is set to Rec,709. The CIE will then show you the output signal you'll get.

@@lombardy3274 Sort of, yes. In the Rec.709 you can then only see which colors are hitting the sides and thus compressed.