Step 1: Converting Flat Footage to Rec.709
You just dragged your D-Log footage into the timeline and it looks like someone smeared Vaseline on the lens. Flat, desaturated, zero contrast. This is normal. Your drone recorded maximum dynamic range to give you flexibility. But before you touch any creative controls, you need to convert this footage to Rec.709.
Why Rec.709 Matters
Rec.709 is the standard color space for virtually everything you watch. YouTube, Netflix, broadcast TV, your phone screen, your computer monitor. They all expect Rec.709 footage. When you shoot in D-Log or HLG, you are capturing in a different color space designed to hold more information. That footage looks wrong on standard displays until you translate it.
Think of it like receiving a document written in Spanish when you need English. The information is all there, but you cannot use it until you translate it. Rec.709 conversion is that translation.
This step has nothing to do with creativity. You are not making the footage look cinematic or stylized. You are making it look correct. Save the creative decisions for later.
Method 1: Color Space Transform in DaVinci Resolve
If you are in Resolve, this is the cleanest approach. Two options:
Option A: Project-Level Color Management
Go to DaVinci Resolve then Color Management. Set your input color space to “DJI D-Gamut” and input gamma to “D-Log.” Set your timeline color space to Rec.709 and gamma to 2.4. Resolve now handles the conversion automatically for every clip you import.
This works well if your entire project uses the same drone footage. If you are mixing sources (DJI D-Log, GoPro, iPhone), use Option B instead.
Option B: CST Node
Create a new node directly after your input node. Open the OpenFX panel and search for “Color Space Transform.” Add it to that node.
Set your input color space to “DJI D-Gamut” and input gamma to “D-Log M.” Set your output color space to “Rec.709” and output gamma to “Gamma 2.4.”
Your flat footage immediately snaps to life. Colors look natural, contrast returns, and you have a proper baseline.
Label this node “CST” or “Base Conversion” so you always know what it does. As your node tree grows, unlabeled nodes become a nightmare to debug.
Method 2: DJI’s Official LUT
DJI provides free LUTs for their color profiles. Download them from DJI’s website.
In Premiere Pro: Open Lumetri Color, go to Basic Correction, find “Input LUT” and click Browse. Navigate to where you saved the DJI LUT and select it.
In Resolve: Apply the same LUT in the LUTs panel on the Color page, or add a LUT node before your grading nodes.
The LUT method is simple and effective, but less flexible than CST. If DJI updates their color science or you need to tweak the conversion, you are stuck with what the LUT gives you.
Method 3: Manual Primary Wheels
Sometimes you do not have the official LUT, or you want full control. The manual method works in any software with Lift, Gamma, and Gain wheels.
Start with your blacks. Open the waveform scope and look at the bottom of the signal. Your flat footage probably sits around 10-15 IRE when it should touch 0. Use the Lift wheel to pull your shadows down until the lowest point hits zero.
Next, fix your whites. Look at the top of the waveform. Flat footage often tops out around 85-90 IRE. Use the Gain wheel to push highlights up until your brightest points hit 95-100 IRE.
Finally, adjust your mids. The Gamma wheel controls middle brightness. Move it until skin tones and mid-tones look natural, usually a small adjustment of 5-10 points.
Watch for clipping when you push Gain. If the waveform hits above 100, you are crushing highlight detail. Back off slightly. The goal is to use the full 0-100 range without exceeding it.
Verify Your Conversion
Regardless of method, check your scopes after converting.
Your waveform should span roughly 0-100 IRE with no signal below zero or above 100. The RGB parade should show channels balanced. The vectorscope should show saturated colors hitting their proper targets.
Footage that converts correctly looks normal. Boring, even. That is exactly what you want. A blue sky looks blue. Grass looks green. This neutral baseline is where actual grading begins.
Save Your Work
In Resolve, once your CST node looks right, right-click it and select “Grab Still.” You can also copy that node and paste it onto other clips. For recurring projects, save your node structure as a PowerGrade.
In Premiere, save your Lumetri settings as a preset. One click applies your conversion to any clip.
Get the Rec.709 baseline right first. Everything else builds from here.