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How I get natural HDR footage from the DJI Pocket 4P // + Amazing firmware update!
🔗 DJI OSMO Pocket 4P - https://geni.us/dji-pocket-4p
🔗 DJI OSMO Pocket 4 - https://geni.us/dji-pocket-4
► WATCH NEXT
- My first week with the DJI Pocket 4P - https://loicba.me/yt/WRZZcsFC0rc
- DJI Pocket 4 vs DJI Pocket 3 - https://loicba.me/yt/Ots5Q6x87Wg
- DJI Pocket 4 Hands-On - https://loicba.me/yt/o9xA4V6rzmU
► COME SAY HI!
https://loicbellemarealford.ca
► GEAR I USE ON YOUTUBE
https://loicbellemarealford.ca/gear
#shotonosmo #djipocket4p #djipocket4 #dji #djiosmo
► CHAPTERS
00:00 - Introduction
01:03 - Firmware Update #1: D-Log In Slowmotion
02:29 - Firmware Update #2: Joystick
02:47 - Firmware Update #3: DJI Pocket 4
03:03 - Firmware Update #5: What's not updated...
03:59 - Simple Color Grade: The software we will use
04:41 - Simple Color Grade: Setting up to project
05:28 - Simple Color Grade: What most people recommend
06:00 - Simple Color Grade: The issue with LUTs in HDR
06:42 - Simple Color Grade: My workflow
07:24 - Simple Color Grade: LUTs vs Input Color Space
08:13 - Simple Color Grade: Using Remote Grades
11:03 - Simple Color Grade: Next Steps
11:40 - Bonsu: Get great colors in camera!
13:26 - Conclusion: Thanks for watching!
► MY MUSIC
- Affiliate link for Epidemic Sound: https://www.epidemicsound.com/referral/iu5gau/
- 0:00 Introduction
- 1:03 Firmware Update #1: D-Log In Slowmotion
- 2:29 Firmware Update #2: Joystick
- 2:47 Firmware Update #3: DJI Pocket 4
- 3:03 Firmware Update #5: What's not updated...
- 3:59 Simple Color Grade: The software we will use
- 4:41 Simple Color Grade: Setting up to project
- 5:28 Simple Color Grade: What most people recommend
- 6:00 Simple Color Grade: The issue with LUTs in HDR
- 6:42 Simple Color Grade: My workflow
- 7:24 Simple Color Grade: LUTs vs Input Color Space
- 8:13 Simple Color Grade: Using Remote Grades
- 11:03 Simple Color Grade: Next Steps
- 11:40 Bonsu: Get great colors in camera!
- 13:26 Conclusion: Thanks for watching!
Hello everyone. DJI just released a new firmware update for the DJI Pocket 4 and the DJI Pocket 4P that fixes one of the most annoying issues that these cameras had. I also want to answer the most frequently asked question inside of my last video. Let's get started by rolling the intro. Those new channel, I'm Luke Ben Mahalford, a young photograph filmmaker on a journey to become better at this art. The question I kept getting in my last video was, how did I make the footage look this natural? especially when it came to the HDR footage. So, that's what we're going to be answering in the second part of this video. [music] Before we start talking about the new features of the firmware update, we have to talk about how to get the firmware update on the camera. For some reason, it took about two few weeks before other people got it for me to get it, but it's very simple. Once you have it, you simply open the DJI Mimo app, connect to the camera, and then there's going to be a prompt asking you to update the camera. Click on that prompt, wait a minute or two, and then it's installed and ready to go. The thing that excites me the [music] most in the firmware update is the addition of DLOG for slow motion. This works both for 120 frames per second and 240 frames per second. I really do not understand why DJI decided to not add this feature on the DJI Pocket 4 and 4P when it was a feature on the DJI Pocket 3, but it's not the first time they do this. They did that in the past. I don't remember if it was with the Pocket 3 or the Pocket 2 where they shipped the camera without DLOG or DLOG M for the slow motion and then added it afterwards with a firmware update. I really wish they added this in the first case. Now, if you don't understand why I'm so excited about this is that the normal mode is way oversharpened and also way oversaturated and it's kind of hard to fix that in post once you get this shot. So, I never really thought that the shots coming out of the normal mode for slow motion were looking good and they were very hard to match with my other clips that I was filming using DLOG. So, now it should be much easier to match them. So, now I'll go have to go shoot a few examples. Maybe here around is not the best case, but I'll shoot some shots and you can see how they look side by side between the normal mode and the delog mode for slow motion. One small update in the firmware that's actually a pretty big one is that you can use a joystick diagonally. It was so annoying in the past when you had to go up, down, left, right to try and compose your shot where now you can easily go almost 360 no problem and it's much faster to get your shots and that's very important with these types of cameras. Another really good news is that all the firmware updates were also brought to the J Osmo Pocket 4. So we have the log for slow motion here and they also added the cloud backup option that I mentioned. I wish they brought to the DJI Pocket 4. So, you should definitely update this camera, too, if you have it. Now, there's one thing that DJI decided to not fix on the DJI Pocket 4P, and I honestly don't really understand why they made that decision, and this one is to still not allow to zoom in when you have the DLO 2 option. I really, really want them to allow us to zoom in even if it goes back down to DLOG. I understand that's an issue with the sensor, but it would be so useful. But right now, I still have to switch camera modes to be able to do this. And this is really annoying because it slows down the process so much. It seems like a tiny little fix. I just don't understand why they're not making it. We're running out of light right now, which probably means it's time for me to move on on this video, but I wanted to say that if you want to see more of this beautiful landscape. I actually filmed a full other video today talking about some techniques that I use to get more cinematic results when using the DJI Osmo Pocket 4. So, I highly suggest you go hit that like button and also that subscribe button so you can know when the next video comes out talking about this. Welcome back. Now, let's talk about some color grading and how I make the footage from the DJI Pocket cameras look this natural inside of an HDR workflow. For this process, we're [music] actually going to be using Dainci Resolve. The free version has all the features we need. And if you don't know what's Davinci Resolve, it's a video editing software, but the part where we can do color grading is actually used by Hollywood Studios. So, it's kind of incredible that we can get this software for free and [music] we can use it with these cameras. If you think the whole flow is a little bit too complex, I'll talk about one setting you can use on the DJI Pocket 4P. So, you can record some footage directly on [music] the camera and get some pretty similar results if that's better for you. So, skip to the end if that's what you want to see. The first thing we actually need to do here is create our project. Next, we're come inside of a new project here, call it color grading, create. Then, we're going to go inside of our project settings at the bottom here. We're going to select a 4K timeline. What's really important is the color management. So, we're come here. We're going to select the color science. The manage option. This is going to allow Davinci Resolve to manage our colors. Then the color processing mode. We're going to make sure we're in HDR. [music] And the output, we're also going to make sure that this one is HDR. And HDR PQ works well [music] if you're going to export it to YouTube or look at on computer. Those are good settings for setting up our project. Okay, so I now have imported some footage inside of the color tab here. And if you look at it, it's all pretty gray. It doesn't look the best right now, but this is what's the log [music] profile. It basically removes a lot of the color, but gives back more flexibility afterwards by compressing the footage. So, a lot of people would set [music] this one to use a lot. So, it's what we call a lookup table. And basically, we can come here, go under the lot menu, and I have the official ones from DJI right here. If I select this one right here for the 4P vivid, we can apply it, but doesn't look great. We can try another one right here. We can go on the second clip. Select this one. And again, [music] looks okay, but doesn't look great. And just to show you, if you want to get these, they're on the DJI website right here. You have a bunch of different LS here for DLOG and DLOG 2 for the Pocket 4 and Pocket 4P. Now, the reason this doesn't look great is actually that we have an HDR project or how dynamic range, but we're actually using a lot that's meant for standard dynamic range. So, if we come here in a different project that I created for standard dynamic range, and we apply the L on these ones right here. So, we're going to come here, J Pocket 4P vivid, we're going to see that this looks decent. I'm actually going to apply to all the other clips here, and we're actually going to see the reason why I don't like editing my videos in SDR anymore. And it's because if you look at the mountain here, there's no detail here inside of the whites at all. We lost all this information because it's not captured inside of a standard definition uh option. So, if we go back here, and we're going to go inside of our HDR project. I'm going to come here, remove the two LUTs, and we're going to use a different option to get a better look. So, if we come here, we're going to select the first file right here. We're going to go inside of input color space. We're going to go under DJI and we're going to select DJI DLOG which is the option we had inside of the camera and we're going to see right away this looks so much better than it did before. Now if we look at the other ones here we're also going to right click. We're going to go inside of input color space DJI DLOG. Apply this. And now if we hover on the clips you can see right here we have this in HDR. We have all the nice colors. We have so much more details inside the white here. Uh and all our clips here already look pretty good. They're not perfect, but they look pretty good. This brings me to talk about what is the difference between a lot and an input color space. You can think of a lot or lookup table as a way of saving a style and then applying it in whatever editor you're using. So, it works inside of Davinci Resolve, it works inside of Final Cut Pro, it works inside of Premiere, it works inside of Cap Cut. So, basically anywhere can read these files and apply the same look. Now the difference is that an input color space is specific to Dav Vinci Resolve and it tells how Dav Vinci Resolve should be treating the colors for a specific camera or a specific picture profile on the camera. So here we're telling it what is our camera using. So we're using DLog and now the program knows how to treat those colors and convert them in a space that we can use. It does not have a style. It's not supposed to look a certain way. It's just supposed to give a good base image that you can use afterwards to color grade as you wish. Now, if you look at the clips, we're going to realize that they look pretty good right now, but they could definitely look better than this. They're still a bit too bright, but there's a few things that we could definitely improve inside of here. So, to do this, I like color grading my clips quickly before I actually edit the video. So, we're going to come here. We're going to select all the clips. We're going to do create timeline using [music] this. It's going to create a timeline right here. Then we can go in the very scary tab here which is our color grading tab and make sure that we have our HDR wheels selected. And if we come here on the first clip, we can change a little bit the global exposure. So we can bring it down a little bit here. Bring up the saturation. But now we're going to realize there's a pretty big issue. If we go back to our media management here, the changes we just did are not applied. If we go inside of another timeline and we import this clip right here, we're also going to see that the changes we did are not applied. So, how do we fix this? This is something I learned recently and saves me so much time inside of my projects in Dav Vinci Resolve. If we select our timeline with all the clips and then go inside of the color grade right here and select one of our clips and we do use [music] remote grades instead of the local grades, this is actually going to allow us to apply a color grade to the clip and wherever the clip is inside of the program will always have the same color grade applied to it. This is really useful because you can preview it with your color grade and also use it everywhere and have it [music] applied everywhere. So you don't have to color correct it multiple times inside of the process. So if we come here, we're going to do the same thing. I think this one is a little bit too bright. If we want to bring back some detail inside of our [music] light here, we can simply go in light and then reduce the snow here. Bring it down a little bit. Maybe bring up the saturation if this is a color grade I like. So usually just tweak these little things here. So, I really just play with exposure, saturation, um, darkness, and shadows. We can come here, do Ctrl + C to copy, and then Ctrl +V on our next clip to apply it here. I actually think I want to be a bit brighter. So, I think something like that looks good. Next one here. Here, I think it could use a little bit more saturation. Something like this pretty good. Next one here. Apply. Again, this one could be a little bit more saturated. Next clip here. This one looks good, but I think this one should be brighter. Yeah, something like that. This one here is a good example where we can tweak the things a little bit more. We can bring up the shadows quickly here. We can bring down the light. And that's basically all I'm doing is just tweaking these little things here. And final shot right here. We're going to apply this one again. I think we can bring up the saturation just a little bit to make it look nicer. Maybe bring No, actually, let's bring down the light because it was pretty dark at this point. And that's basically all I have to do to edit these clips. And now we have really good-looking clips that are not crazy. So the thing here, if we look at the footage here, it's not crazy bright and it won't look terrible inside of HDR because we're handling the colors properly. Now, the cool thing with the Vinci Resolve is depending [music] if you're going to do like me and continue editing inside of the program or you simply want to export the clips, you can come inside of the export tab here. You can go in your export, choose an export setting. Let's say master here. And then a little trick here is if you click on the plus button right here or you type [music] in percentage, you can actually use the file name to export the same files again and you can do individual files. So now every file will be exported with the color grade and then [music] you can use it in your other editor of choice afterwards. So it's a very simple workflow whether you're working inside of Dinci Resolve or [music] working somewhere else. Now, if you're telling yourself, "This is a little bit too complex, takes too much time, or you simply just want to get some [music] footage directly out of the camera, but still want to have pretty good-looking HDR footage." Well, there's a very good news for you. If we come inside of the footage that I have right here, the first clip here is a clip that's [music] in SDR. Again, doesn't look really good. And just to be clear, when I talk about SDR, this is a normal mode inside of the picture profiles on the camera. Um, they look fine, but honestly, not the best here. Now, if we go inside of our second clips right here, these are our DLOG clips. So, if I select all of these clips here, [music] user input color space and apply DLOG, we're now see that these clips look pretty good. But look where is really cool. DJI added on the Pocket 4P and on the J Pocket 4 a HDR mode. And basically, the HDR mode looks almost exactly the [music] same as our DLOG here without any of the effort that we have to put inside of it. Again, if we look at the clip right here, we're [music] going to see this is DLOG. This is the HDR version, they're a little bit brighter. There's a little bit more sharpening. So, [music] if we come inside of our color tab, and we look at the DLO clip and the click right here. If we go on the DLOG version, we can simply bring up the exposure a little bit. Then, it's missing some sharpening. So, [music] we're simply going to take our sharpen option, add it here, you don't really need to understand what's happening that much right now. But, if we look at this right here, and then we look side by side, this is the HDR version inside of the DJI Pocket camera. And this is the one that we created. Basically exactly the same clips. If I [music] copy this to the other clips around, we can see here HDR from the camera directly from the camera. The version that I [music] corrected HDR from the camera version that's corrected HDR from the camera version that's corrected. [music] So again, this is a very very simple way of getting great looking footage without having to do any color grading afterwards. I really hope you learned something inside of this video. whether it's the firmware updates that they made to these cameras [music] or it's about how I color grade the footage and how easy it is for you to do it too. [music] If you're interested in the DJI Pocket 4P, definitely subscribe to my channel because one of the next videos is going to be how to get some cinematic footage using this camera and it's a very simple guide for people to understand how to get cinematic footage. And also let me know if you enjoyed this video by hitting a like button below. See you in the next one.
Video Links
What is this video about?
DJI just released a firmware update for the Pocket 4 and 4P that fixes some long-standing issues, and I'm excited to share what's new and answer the question I kept getting: how do I make the footage look this natural, especially the HDR footage?
The big news here is D-Log support for slow motion at both 120fps and 240fps. I still don't understand why this feature shipped without D-Log in the first place, but it's here now. The normal mode is so oversaturated and oversharpened that it's nearly impossible to match with D-Log clips in post. Now that I can shoot slow-motion in D-Log, matching my footage is going to be much easier. There's also a nice improvement to the joystick—you can now move diagonally instead of being locked to up, down, left, right. It sounds small, but it massively speeds up composition.
The Pocket 4 got these updates too, which is great. One thing that's still not fixed on the 4P is the inability to zoom while in D-Log mode. I really wish they'd fix this, even if it stepped down to standard D-Log when zooming. It seems like a small change that would save a lot of workflow frustration.
Now, for the main question: how do I get natural HDR footage? I walk through my color grading workflow using DaVinci Resolve, which is free and incredibly powerful. The process involves setting up an HDR project, importing your D-Log footage, and using the Input Color Space feature (not LUTs) to properly interpret the color data. LUTs are designed for SDR and don't work well with HDR. Once I apply the DJI D-Log input color space, the clips look dramatically better—I get all the detail in the highlights and proper color rendition that would be lost in SDR.
From there, I do quick color passes using remote grades to adjust exposure, saturation, and shadows. Remote grades stick with your clip everywhere in the project, so you don't have to re-grade multiple times. It's a straightforward workflow whether you're editing in Resolve or exporting to another program.
But here's the really good news: if this feels too complex, the Pocket 4P now has a built-in HDR mode that looks almost identical to my D-Log workflow right out of camera. It's slightly brighter and has a bit more sharpening, but if you want great-looking footage with zero color grading, it's right there. I demonstrate the side-by-side comparison at the end—the results are remarkably similar.
Whether you're diving into color grading or just want natural footage straight from the camera, there's a path for you with these updates.