Most advice for color mode when recording video with the X3 camera is to use D-Log.  I am planning a project in which I'm likely to include clips recorded with my Sony a7rii and X3 (Osmo and Inspire 1).  I'd like to choose a picture profile for the a7rii which will result in the most consistent look and feel for the end result and hopefully simplify the post processing.

Picture Profiles on the a7rii allow several selections for Gamma (Cine1-4, ITU709, ITU709(800%) and S-Log2) and Color Mode (Cinema, Pro, ITU709 Matrix and S-Gamut) to define the result.

Will using D-Cinelike on the X3 make it easier to define a matching profile on the a7rii?

I don't much experience to draw on here.  Is it naive to think D-Cinelike on the X3 will match up well with a7rii Gamma of Cine 1, 2, 3 or 4 plus Color Mode of Cinema?

Suggestions?

I'd suggest using D-Log on the X3 and S-log on your A7RII.  Shoot some tests in similar light and see what you get.  X3 is definitely not good in low light.

fans1adda5db Posted at 2017-3-9 07:42
I'd suggest using D-Log on the X3 and S-log on your A7RII.  Shoot some tests in similar light and see what you get.  X3 is definitely not good in low light.

Thanks, I'll test that combination first then.

While D-Log does aim to give you more dynamic range in post production after colour grading most people find the compression DJI use is very harsh and it doesn't take much for the image to fall apart when trying to colour correct. Your best bet is to get the Osmo set to best reflect your final output therefore requiring the least amount of colour correction, for most people that is using the cinelike d profile. Even better if you can get yourself a colour chart you can use that and something like Davinci Resolve to colour match the cameras, it can even export some LUTS using you colour match to then use in your prefered editor.

Skint Posted at 2017-3-12 02:49
While D-Log does aim to give you more dynamic range in post production after colour grading most people find the compression DJI use is very harsh and it doesn't take much for the image to fall apart when trying to colour correct. Your best bet is to get the Osmo set to best reflect your final output therefore requiring the least amount of colour correction, for most people that is using the cinelike d profile. Even better if you can get yourself a colour chart you can use that and something like Davinci Resolve to colour match the cameras, it can even export some LUTS using you colour match to then use in your prefered editor.

Thanks for the info.  I'll check out your suggestion.