Check D-Log M
Separate D-Log M recordings from HLG or Normal clips before applying any shared conversion.
Grade Mini 4 Pro D-Log M aerials with controlled skies, believable greens and a smooth transition into ground-level footage.
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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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Aerial footage often contains a large sky, distant haze and small areas of deep shadow in the same frame. Adding aggressive contrast can make the ground look punchy while stripping the sky of its gentle tonal transitions.
Start with the proper Mini 4 Pro D-Log M conversion, then assess the horizon and the ground separately. A distant landscape does not need the same black level as a close-up recorded on the ground.
When a drone shot opens a sequence, use it to establish the atmosphere. Match its overall colour direction to the next shot while allowing the aerial perspective to retain natural haze and scale.
Aerial depth often lives in subtle contrast. Do not remove all the haze just because a stronger grade looks dramatic in a still frame.
Separate D-Log M recordings from HLG or Normal clips before applying any shared conversion. Use a matching Mini 4 Pro D-Log M input treatment once. Confirm the project is not already normalising the same footage.
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.
Separate D-Log M recordings from HLG or Normal clips before applying any shared conversion.
Use a matching Mini 4 Pro D-Log M input treatment once. Confirm the project is not already normalising the same footage.
Balance the image while watching bright clouds, water reflections and dark terrain. Avoid forcing every shadow to black.
Compare the aerial with the first ground-level shot. Align white balance and creative intent without flattening the difference in perspective.
Check the profile and intended output before choosing a technical LUT or plugin conversion.
Judge colour over moving footage, especially when a reveal changes the amount of sky in frame.
Convert each source correctly, then match exposure and colour before applying a common creative direction.
No. They need different colour handling. Confirm the recording mode instead of applying a D-Log M conversion to every drone clip.
Check for duplicate conversion, excessive contrast and over-saturation. Compare cloud detail before and after the creative treatment.
Yes, but convert each camera with its correct input first. Then balance the shots visually; identical settings do not guarantee a match.
No. A balanced technical conversion may be enough. A creative LUT is an optional direction that should preserve the landscape’s believable colour.
Profile reference: DJI Mini 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 M input, balance the shots and choose a look that fits your film.
DJI Mini 4 Pro D-Log M colour grading · DJI Mini 4 Pro LUT workflow · DJI Mini 4 Pro DaVinci Resolve · ToneLab Chroma DJI Mini 4 Pro · DJI Mini 4 Pro D-Log M to Rec.709 · Aerial landscape continuity
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