Check the capture
Confirm that the source was recorded in an I-Log-capable X6 shooting mode. Do not identify the profile from a flat-looking preview alone.
Turn an I-Log capture into a consistent finished sequence, with room to reframe the story before refining the colour.
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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 360 edit can show several views from one recording. A forward-facing shot might be mostly sky; the reverse angle might be a face in shade. Those reframed shots need individual attention even when they began as the same X6 clip.
Treat the export from your 360 software as part of the colour workflow. Record which profile it retains and whether colour correction was applied. A file that has already been converted should not receive another I-Log conversion in Resolve.
For a travel sequence, choose a reference frame with a useful neutral surface and believable skin. Balance the other views against it before adding a stronger creative palette. The goal is continuity as the viewpoint changes, rather than identical slider values.
A changed viewpoint can change the balance of the image. Judge each final framing, not just the original 360 recording.
Confirm that the source was recorded in an I-Log-capable X6 shooting mode. Do not identify the profile from a flat-looking preview alone. Stitch and reframe as needed, keeping track of colour processing. Export a high-quality intermediate with a known profile.
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.
Confirm that the source was recorded in an I-Log-capable X6 shooting mode. Do not identify the profile from a flat-looking preview alone.
Stitch and reframe as needed, keeping track of colour processing. Export a high-quality intermediate with a known profile.
For an export that retains I-Log, use a matching supported conversion. If it is already Rec.709, keep the LOG conversion off.
Balance sky-facing and shaded angles individually, then apply a restrained shared look across the sequence.
A LUT is only useful when it matches the file entering Resolve. The original camera setting is not enough if an export has already changed the colour.
A face framed against a bright horizon needs different balancing from a wide landscape, even when both come from one take.
Chroma can be considered for the supported conversion and creative stage; stitching and reframing remain separate editing tasks.
No. Insta360 documents I-Log availability by shooting mode. Check the current X6 manual and the selected mode before recording.
For this workflow, establish the stitched export and final framing first, then balance the selected shots in Resolve. Keep colour transformations documented throughout.
Check whether the 360 export already received colour correction and whether Resolve or Chroma is applying a second conversion. Also compare the exported file with the original settings.
Use a common creative direction, but balance the individual views. A shot dominated by open sky and one dominated by shadow will rarely need identical exposure adjustments.
Profile reference: Insta360 X6 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 I-Log input, balance the shots and choose a look that fits your film.
Insta360 X6 I-Log colour grading · Insta360 X6 LUT workflow · Insta360 X6 DaVinci Resolve · ToneLab Chroma Insta360 X6 · Insta360 X6 I-Log to Rec.709 · Reframed 360 video
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