- Joined
- Oct 25, 2021
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- 15
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- 41
Hey All,
I'm writing because I'm a bit frustrated with the coloring process and lack of information out there on grading footage from DJI and I could use some help...
The footage I filmed and I'm working with was shot with my Inspire 2, X5S sensor, DJI 15mm f/1.7 in ProRes 422 HQ.
Both the image and the information represented by the scopes coming out of the h.264 file look considerably better than the ProRes file, and although I'm not a pro color grader, I'm intermediate, and I just can't seem to bring it back to life even though in my understanding the data should be present. I'll attach a couple screenshots.
Does anyone have any workflow recommendations for these settings or know of any LUTs to tweak ProRes? I'm thinking about purchasing a CinemaDNG license to get more latitude and better results, but that's what I purchased the ProRes license for (that, and the ability to edit and deliver quickly in that format), so I'm worried it won't be worth the extra $1K.
I'm noticing the following inferior traits, currently, that I'm not sure how to correct and don't show up in their h.264 counterparts:
Any feedback is greatly appreciated.
John
I'm writing because I'm a bit frustrated with the coloring process and lack of information out there on grading footage from DJI and I could use some help...
The footage I filmed and I'm working with was shot with my Inspire 2, X5S sensor, DJI 15mm f/1.7 in ProRes 422 HQ.
Both the image and the information represented by the scopes coming out of the h.264 file look considerably better than the ProRes file, and although I'm not a pro color grader, I'm intermediate, and I just can't seem to bring it back to life even though in my understanding the data should be present. I'll attach a couple screenshots.
Does anyone have any workflow recommendations for these settings or know of any LUTs to tweak ProRes? I'm thinking about purchasing a CinemaDNG license to get more latitude and better results, but that's what I purchased the ProRes license for (that, and the ability to edit and deliver quickly in that format), so I'm worried it won't be worth the extra $1K.
I'm noticing the following inferior traits, currently, that I'm not sure how to correct and don't show up in their h.264 counterparts:
- Barrel Distortion
- Less range in colors (oranges are not as present and yellows appear exaggerated).
- Much more noise
Any feedback is greatly appreciated.
John