The Avata 2 metadata lacks an input color space.

I'm attempting to color manage the Avata2, but Resolve doesn't offer an input color space to select, preventing me from following the standard "input camera space -> intermediate wide -> deliver rec709" workflow.

The provided LUT is essentially a black box that outputs REC709. How does one manage color in a wider gamut?

What is the benefit of having the log source if it can only be downscaled to REC709 using an unspecified LUT? It seems I might be overlooking something.

Safe and fun flights,
Vanadio.

Hi, Vanadio. Thank you for reaching out. You can perform secondary color adjustments according to your own preferences based on applying lut. What color space parameters do you need? Or does an exception occur during application of lut? Please provide specific problem phenomenon materials for further judgment.

Hello,

Thank you for your response. I appreciate the suggestion to perform secondary color adjustments using the provided LUT, but my concern revolves specifically around the source color space for the Avata 2’s D-Log M footage.

To elucidate:

Lack of Metadata for Source Color Space: The Avata 2 Dlog-M footage does not have metadata specifying its input color space. This absence makes it challenging to establish a precise starting point for color grading in software like DaVinci Resolve, which relies on known input color spaces to manage color transformations correctly.

Necessity for Defined Source Color Space: Without a defined input color space, using a LUT to convert to REC709 is not fully leveraging the potential of the log-encoded footage. The LUT provided converts the footage directly to REC709, but without understanding the source color space, this process is akin to a "black box" that might not utilize the full dynamic range and color gamut captured by the camera.

Requirement for Accurate Color Grading Workflow: a comprehensive color grading workflow starts from a defined input color space ("input camera space") and moves through an intermediate wide gamut space before delivering in REC709. This process ensures maximum fidelity and flexibility in color grading.

Could you please confirm whether there is a specific color space that the Dlog-M is designed to comply with? Or, if possible, provide guidance or a profile that defines the Dlog-M’s color characteristics?

It's plain wrong not to provide the color space of a camera that has (among others) selling points in its high quality / high fidelity 10bit log format...

Thank you!

See this thread: https://forum.dji.com/thread-297669-1-1.html

fichek Posted at 5-3 23:51
See this thread: https://forum.dji.com/thread-297669-1-1.html

thx fichek, I see it is a known issue, I added to that post.

Vanadio Posted at 5-3 14:08
Hello,

Thank you for your response. I appreciate the suggestion to perform secondary color adjustments using the provided LUT, but my concern revolves specifically around the source color space for the Avata 2’s D-Log M footage.

Hi, Vanadio. Thank you for the reply. Regretfully, for DLog-M there is no DJI Operation Guidebook or color space available but I will take it as a suggestion of yours and will forward it to our designated team for attention. All significant suggestions will be implemented after the evaluation of our relevant team. For the latest updates please stay tuned to our DJI official website at ( www.dji.com ). Thank you.