Label camera and profile
Group the clips by the camera view and recorded D-Log or D-Log M profile. Keep HLG and Normal footage separate.
Keep Mavic 4 Pro aerial sequences coherent across camera views and recording profiles, with the technical input established before the creative look.
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See the video for a guide to the general conversion and creative-grading process. This is a shared workflow demonstration; the camera-specific guidance is below.
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A multi-camera aerial edit can move from a broad landscape to a compressed detail without leaving the aircraft. The visual rhythm is useful, but each view changes the balance of atmosphere, background and subject.
DJI documents D-Log and D-Log M on the Mavic 4 Pro. Record which profile and camera produced each clip. ToneLab lists Mavic 4 Pro in both its D-Log M and D-Log (X9) groups; confirm the preset’s exact expected input instead of treating the X9 label as a camera setting to select.
After the source conversions are correct, match a stable subject across the views. Watch distant haze, highlight reflections and vegetation as you refine contrast. Keep the different perspective of each camera while making the colour treatment belong to one sequence.
One aircraft can supply several views and more than one LOG input. Organise those differences before copying a grade.
Group the clips by the camera view and recorded D-Log or D-Log M profile. Keep HLG and Normal footage separate. Confirm which ToneLab input matches the recorded profile, including its D-Log (X9) naming for Mavic 4 Pro.
This sequence is designed for an SDR Rec.709 finish. Account for any existing colour management before applying a technical conversion; the same LOG-to-display transformation should not happen twice.
Group the clips by the camera view and recorded D-Log or D-Log M profile. Keep HLG and Normal footage separate.
Confirm which ToneLab input matches the recorded profile, including its D-Log (X9) naming for Mavic 4 Pro.
Balance a recurring landmark or neutral surface across camera views before applying the creative direction.
Review haze, bright reflections and transitions between wide and tighter views, keeping local corrections available.
D-Log and D-Log M require their own documented treatment. The aircraft name alone cannot select the conversion.
Use a landmark visible in more than one shot to judge colour and contrast across changing perspectives.
Treat ToneLab’s preset grouping as something to verify against the recorded file, not a substitute for its real profile.
DJI documents both. Check the actual mode selected for each recording and keep the input groups separate.
Its support list places Mavic 4 Pro in that conversion group as well as D-Log M. Confirm the correct preset mapping for your footage with ToneLab.
Reuse the creative direction after correct input handling, but rebalance exposure and colour for each view and scene.
Not necessarily. Distance, haze and framing affect the image. Match the sequence while preserving believable perspective.
Profile reference: DJI Mavic 4 Pro documentation. Check ToneLab’s current compatibility information for the exact input and installed version.
Find every camera in the ToneLab Camera Hub, or explore all Workflow articles.
Start with the correct D-Log / D-Log M input, balance the shots and choose a look that fits your film.
DJI Mavic 4 Pro D-Log / D-Log M colour grading · DJI Mavic 4 Pro LUT workflow · DJI Mavic 4 Pro DaVinci Resolve · ToneLab Chroma DJI Mavic 4 Pro · DJI Mavic 4 Pro D-Log / D-Log M to Rec.709 · Three-camera aerial matching
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