Three stages, every shot
1 · Balance
Per shot, in log
Black point, contrast and a light neutral balance set on each clip before conversion, so haze, exposure and white balance sit together across cameras and times of day.
2 · Convert
Each camera to Rec.709
Sony's LC-709 Type A for S-Log3. The DJI D-Log, D-Log2 and GoPro GP-Log2 conversions come from Resolve's own colour transforms with DaVinci tone mapping, baked into LUTs.
3 · Look
The Track
Film contrast with a soft lifted black and a rolled-off top end. Ochre earth, olive scrub, deeper skies, colour density in the saturated tones, cool shadows and warm highlights. Skin is held natural.
Four cameras, one grade
| Camera | Recorded | Conversion | Shots |
|---|---|---|---|
| Sony FX5 · day 1 | X-OCN, S-Log3 / S-Gamut3.Cine, 1.5× anamorphic, desqueezed and centre-cropped to 16:9 | Sony LC-709 Type A | 14 |
| Sony FX5 · day 2 | XAVC 4K, S-Log3 / S-Gamut3.Cine | Sony LC-709 Type A | 4 |
| DJI Mavic 4 Pro | H.265 10-bit, D-Log | DJI D-Log → Rec.709 | 10 |
| DJI Osmo Pocket | H.265 10-bit, D-Log2 | DJI D-Log2 → Rec.709 | 7 |
| GoPro | H.265 10-bit, GP-Log2 | GoPro GP-Log2 → Rec.709 | 3 |
Thirty-eight frames
Click a still to open it full width with a before/after slider.