This tutorial will enable you to capture good baseline footage for your cinematic productions - no need to overcomplicate things.

Very useful tips Henrik.    

I second all of your tips, and probably will try more Auto-mode attempts ;) Thanks for sharing your thoughts.

Watched this the other day, and about to go back and watch again.  I always struggle on the camera side of drones.  It is clearly both a science and an art.

Nice tips Hendrik.   

These presented settings partly deviate significantly from those who want to make really good videos with the Mini 3.
For example, no "Cinelike" setting.
I don't understand it.

Karl53 Posted at 3-1 11:28
These presented settings partly deviate significantly from those who want to make really good videos with the Mini 3.
For example, no "Cinelike" setting.
I don't understand it.

1. Using Cinelike right out of the camera does not look good (that was the whole idea)
2. Yes, It's 10bit, but only 4-2-0  so there are limits to what you can do in post

I find that it's easier to make consistently good results by keeping it simple.

/HeO

Very on point!

Thanks Henrick

Henrik Olsen Posted at 3-1 11:36
1. Using Cinelike right out of the camera does not look good (that was the whole idea)
2. Yes, It's 10bit, but only 4-2-0  so there are limits to what you can do in post

420 is a non-issue.
A sensor in its native resolution after debayering doesn't deliver more than 420 chroma subsampling anyway. Higher values in 4K can only be achieved after debayering from a 6K or even 8K sensor (up to 444 sampling in 4K after downscaling). Keep in mind, 422 and higher are only relevant in either SD resolutions or VFX work.

10 bit is the important factor here. in 8 bit, gradient usually just fall apart.

55Media Posted at 3-3 14:12
420 is a non-issue.
A sensor in its native resolution after debayering doesn't deliver more than 420 chroma subsampling anyway. Higher values in 4K can only be achieved after debayering from a 6K or even 8K sensor (up to 444 sampling in 4K after downscaling). Keep in mind, 422 and higher are only relevant in either SD resolutions or VFX work.

Still it looks bad right out of the camera witch was the point of video - and even if you decided to color correct or grade it most will end up with something that looks worse

heo3480 Posted at 3-3 22:41
Still it looks bad right out of the camera witch was the point of video - and even if you decided to color correct or grade it most will end up with something that looks worse

Of course it will look bad right out of the camera, its supposed to as your meant to sort it in post to your own liking, as for looking worse, i suppose but only if you do not know what youre doing.

KISS is ideal for folk that want things simple...

Having said that, once you've sorted out the colouring for say tutorials on YT you can just save it as a preset, therefore its still simple, you're already doing the editing anyway, so why not use the best quality (cinelike) available and add the preset, its a simple as counting to 123 and it will be consistent.

You can save different presets for different scenarios, it doesn't have to be hard, like i said, youre already in there editing anyway so whats one more step in adding the preset you saved

Henrik Olsen Posted at 3-1 11:36
1. Using Cinelike right out of the camera does not look good (that was the whole idea)
2. Yes, It's 10bit, but only 4-2-0  so there are limits to what you can do in post

I often work with the drone at dusk and at night. If I didn't work with the Mini 3 Pro here with "Cinelike", all video recordings would be absolutely unusable

Useful for amateurs that does not edit....
In rest, full manual is a must, same the D-Cinelike if the drone does not have HLG/LOG (like Mini 3 Pro have only D-Cine).
Even the AF sometimes is in Manual focus if you need to make pro things...but this is tricky, as is harder to MF on a drone....