I reverse engineered what D-Cinelike color mode is doing using 129 sample points of known intensity. Other LUTs I was able to find online named "D-Cinelike to srgb" and such, had an existing grade (filmic tone curve) inside of them, and seemed like they were eyeballed. Purpose of a grading LUT is to produce a neutral result which can then be used as a starting point in grading. Existing LUTs I was able to find did not do that, but tried to output a baked cake so to say, and so they actually made grading just as hard as if not using D-Cinelike, with the benefit of shadow/highlight recovery being possible. With the linear approach, nothing needs to be recovered, everything is there to begin with, look becomes neutral, and grading footage from different sources becomes consistent. This LUT I created is so precise that you can use it to turn your DJI FPV into a scientific light measuring instrument, since that's the purpose I originally needed it for.

Here is a video showing how I did it, and how various DJI FPV footage looks with the LUT applied (or should I say, how it really looks like, since this is esentially the signal that camera internally sends to processor in order for it to be D-Cinelike tonemapped into something that can be efficiently encoded as 8bit video)


Download LUT:
https://drive.google.com/file/d/ ... HS/view?usp=sharing

Using Davinci Resolve, this LUT works correctly by default. It expects input in srgb gamma space, and outputs back to that same space. DO NOT right click your clip and change it's input color space or you won't get a linear result. You can also bypass color management all together, and you should see no difference at all in input or output.

Desmos graphing calculator document shown in the video can be found here:
https://www.desmos.com/calculator/b1dhemfngt

This LUT can also be used in HDR in the same way you would use any other SDR footage in an HDR project, but I've also created an HDR version of the LUT, that will result in linear relationship between nits in real life (photons hitting camera sensor) and nits displayed on the screen.

Download HDR version of the LUT:
https://drive.google.com/file/d/ ... mk/view?usp=sharing

HDR comparison video:


Instructions on how to correctly use the HDR LUT can be found in the video description.

Hope this helps someone

I'll check it out thnx for this

Really neat! Also, love the areas in the video!

Thanks a lot! Will test it in coming edits

Interesting to see!

Really interesting to see.  Thanks for sharing.

Hello there Shadetail. Good day and thank you for posting this interesting video you have filmed and created. Great work and have a nice day.

Thank you so much for sharing, I really like this scientific approach.
However, since I am a newbie in color grading, I’m a little confused about the specification of “sRGB” as the input and output gamma space for this LUT.
I’m using DaVinci YRGB color management, set to “Rec.709 Scene” as input color space (from my Mini 3 Pro), and “Rec.709 Gamma 2.2” as output color space (to my monitor calibrated as such).
My question is: do I have to set the timeline color space to “sRGB”, in order to get the proper transformation from this LUT, or can I also choose different color spaces for the timeline?
Many thanks for the help.

Albx59 Posted at 9-22 08:00
Thank you so much for sharing, I really like this scientific approach.
However, since I am a newbie in color grading, I’m a little confused about the specification of “sRGB” as the input and output gamma space for this LUT.
I’m using DaVinci YRGB color management, set to “Rec.709 Scene” as input color space (from my Mini 3 Pro), and “Rec.709 Gamma 2.2” as output color space (to my monitor calibrated as such).

You do not need to change timeline color space to "sRGB".  LUT will work correctly the way that you are using it right now.

You can still use this LUT even if your timeline is using a different color space as long as resolve is correctly interpreting the clip itself as rec.709. Timeline color space is really the output color space, and it is used as input color space only if you disable color management on the clip. Personally, when I'm working with other color spaces I like to do it all manually as I can then chose the tone mapping method that is used and I can control when exactly the transform happens.

For example, I use this LUT in BT.2020 color space timeline by disabling color management on the clip, applying the LUT on the first node and applying the Color Space Transform FX to a second node. Inside of color space transform FX settings I'd then set input color space and input gamma both to rec.709. I'd keep output color space on "timeline", and I'd set Tone Mapping Method depending on what I'm doing.

In reality, when I'm working in BT.2020 color space it means I'm working in HDR and I'd actually use the HDR version of the LUT that already includes the PQ gamma transform so in that case I only want to convert the color space (gamut) while not converting the gamma.

Shadetail Posted at 9-22 10:31
You do not need to change timeline color space to "sRGB".  LUT will work correctly the way that you are using it right now.

You can still use this LUT even if your timeline is using a different color space as long as resolve is correctly interpreting the clip itself as rec.709. Timeline color space is really the output color space, and it is used as input color space only if you disable color management on the clip. Personally, when I'm working with other color spaces I like to do it all manually as I can then chose the tone mapping method that is used and I can control when exactly the transform happens.

Dear Shadetail,
Thank you very much for your kind explanation.
I will experiment a little, to see if I have fully understood it.
Thank you again for your patience.

This is a great LUT..  I despise those Youtube LUTS that look like garbage unless you shot in the same location and time of day as the creator. This is a great technical LUT that opens the image right out, and clears it for a proper grade.  Great work and thank you for taking the time to build it.

vfxwolf Posted at 12-20 10:35
This is a great LUT..  I despise those Youtube LUTS that look like garbage unless you shot in the same location and time of day as the creator. This is a great technical LUT that opens the image right out, and clears it for a proper grade.  Great work and thank you for taking the time to build it.

Thanks for appreciation and kind words, means a lot

Would this work one-to-one for the D-Cinelike footage from the Mini 3 Pro since that is 10-bit and yours is 8-bit? Or would it be a different exposure range, curve, etc? Thanks in advance!

Jeremiah221 Posted at 2-10 11:28
Would this work one-to-one for the D-Cinelike footage from the Mini 3 Pro since that is 10-bit and yours is 8-bit? Or would it be a different exposure range, curve, etc? Thanks in advance!

I'm not able to actually confirm that D-Cinelike profile is same on other DJI drones and cameras due to not owning any other DJI drones or cameras, but if I went and bought the Mini 3 Pro, I would expect that D-Cinelike to be the same, and I would expect my LUT to work exactly the same as it does with DJI FPV. Production wise it makes most sense for this to be so.

If they came up with a new log curve for a new device, they would probably call it differently, or at least that would be the sensible thing to do. If they did go and actually invest the company budget into designing the improved curve, the marketing department would want a new name for it so that they can use it to market the product better.

Additionally, DJI drones and cameras already have various different log curves, for example: D-Log, DLog-M, D-Cinelike. It makes sense to me that these curves are consistent between products, otherwise why keep the same name as some older curve? Why chose one name over the other?

And additionally, in production environments there is a lot of reuse in order to save development cost, so I fully expect they are simply reusing the same D-cinelike curve since they first designed it.

So I fully expect that the curve itself is exactly the same if it's called the same. That said, if the camera  sensor and lens are different, there could be some difference in the overall result, since my LUT compensates for any non-linearities introduced anywhere in the pipeline, regardless if it results from sensor, lens, tonemap curve, or some other unknown. As far as I know, there shouldn't be any other non linearities introduced by these other things, but it's not entirely impossible. If there are such non linearities, chances are that they are small, orders of magnitude less influential than what the tone mapping curve does. But this probably the reason, if a legit technical reason even exists, why DJI themselves offer for download different LUTs for different drones even though they use tone curve with the same name "D-Log":
https://www.dji.com/at/downloads/softwares/transcoding-mavic-3
https://www.dji.com/at/downloads ... ding-zenmuse-x7-rec

I personally wouldn't use my D-Cinelike LUT to turn Mavic 3 Pro into a scientific light measuring instrument (as I did with my DJI FPV) without first confirming that results are exactly the same. But for the purposes of grading, I'd use my own LUT without a second thought, and would only look deeper and go test it's accuracy if I would notice that something feels off. I'm 99% confident that for purpose of grading, my D-Cinelike LUT would do the job correctly on Mavic 3 Pro.

Footage being 10 bit vs 8 bit doesn't influence this at all. Exposure range also has nothing to do with any of this.

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