Identify D-Log 2
Record the lens and profile alongside the clip. Keep D-Log 2 separate from other DJI LOG recordings.
Build a Pocket 4P D-Log 2 grade that keeps wide scenes and closer portraits connected, without confusing D-Log 2 with other DJI profiles.
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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 travel film can cut from a wide location view to a tighter portrait in a moment. The framing changes how much sky, skin and shadow the viewer sees, so a consistent look needs more than copying the same adjustment values.
The Pocket 4P introduces another input to the DJI workflow: D-Log 2. Keep those files separate from D-Log and D-Log M recordings. Check the actual profile for each lens and recording mode; this guide covers footage recorded in D-Log 2, not every file produced by the camera.
After establishing the correct conversion, choose a representative face and a neutral surface as references. Bring the close view and the wide shot into agreement before adding the final colour palette. Preserve their different perspectives rather than forcing identical contrast.
The Pocket 4P name identifies the camera. The recorded D-Log 2 setting identifies the conversion.
Record the lens and profile alongside the clip. Keep D-Log 2 separate from other DJI LOG recordings. ToneLab lists Pocket 4P under D-Log 2. Check that the matching conversion is present in your installed version and use it once.
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.
Record the lens and profile alongside the clip. Keep D-Log 2 separate from other DJI LOG recordings.
ToneLab lists Pocket 4P under D-Log 2. Check that the matching conversion is present in your installed version and use it once.
Match skin, neutrals and highlight behaviour between wide views and closer portraits before sharing the creative treatment.
Judge the grade at the cut and during movement. Keep individual exposure trims beneath the shared visual direction.
Use a conversion explicitly intended for the recorded D-Log 2 input; do not substitute a Pocket 3 D-Log M preset.
A tight view makes small changes in skin hue and contrast more visible than the establishing shot.
Evaluate the supported conversion first, then judge creative looks across both wide and close compositions.
No. Keep the input profiles distinct and use the conversion documented for the recording. The Pocket 4 guide remains on its own URL.
No. It covers D-Log 2 footage. Check the selected lens and recording mode before applying that input treatment.
Yes, when the clips are prepared for the look’s expected input. Balance each lens and scene individually before judging the shared treatment.
Its public compatibility list names Pocket 4P under D-Log 2. Confirm the corresponding conversion is available in your installed version.
Profile reference: DJI Osmo Pocket 4P 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 2 input, balance the shots and choose a look that fits your film.
DJI Osmo Pocket 4P D-Log 2 colour grading · DJI Osmo Pocket 4P LUT workflow · DJI Osmo Pocket 4P DaVinci Resolve · ToneLab Chroma DJI Osmo Pocket 4P · DJI Osmo Pocket 4P D-Log 2 to Rec.709 · Dual-lens travel films
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