Mavic 3 Cine Normal Prores v DLOG Prores

[Akbuk]

Apple ProRes with Dlog on Mavic 3 Cine is very poor quality. It's a huge disappointment for me. Check out the attached video. The original video converted to QuickTime APR422HQ shows the same issues.
The first 10 seconds are shot in Apple ProRes 4K 50P in normal mode (ISO 100, ND8, F4, 100fps, exposure MM-0) with no editing, the image is fine, maybe a little bit sharp and too contrasty.
The second 10 seconds is shot in Apple ProRes Dlog 4K 50P (ISO 400, ND8, F8 100fps, exposure MM-0), DJI LUT applied plus basic editing (saturation, contrast etc) in Adobe Premiere CC 2022. In Dlog mode, the blue sky has a disintegrating image, totally damaged with visible blocks. It looks like the Log profile was applied to 8 bit video. A massive codec like Apple's ProRes HQ can't behave like this, right? What do you think?
The link to download the original files without editing is in the description of the YouTube video.

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[brett8883]

Apple ProRes with Dlog on Mavic 3 Cine is very poor quality. It's a huge disappointment for me. Check out the attached video. The original video converted to QuickTime APR422HQ shows the same issues.
The first 10 seconds are shot in Apple ProRes 4K 50P in normal mode (ISO 100, ND8, F4, 100fps, exposure MM-0) with no editing, the image is fine, maybe a little bit sharp and too contrasty.
The second 10 seconds is shot in Apple ProRes Dlog 4K 50P (ISO 400, ND8, F8 100fps, exposure MM-0), DJI LUT applied plus basic editing (saturation, contrast etc) in Adobe Premiere CC 2022. In Dlog mode, the blue sky has a disintegrating image, totally damaged with visible blocks. It looks like the Log profile was applied to 8 bit video. A massive codec like Apple's ProRes HQ can't behave like this, right? What do you think?
The link to download the original files without editing is in the description of the YouTube video.

To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.

Accept third party cookies

I downloaded your source videos and found them both to be excellent.

First of all the normal ProRes looks like it is 10 bit color after all, it also looks excellent. I would turn down the sharpening and contrast in camera for more latitude in post but the imaging processor nailed it in on this one. A quite strong s curve is being applied and some other tone mapping as well as computational adjustments are being made in camera. It’s looks nice.

The D-log looks and graded excellently. You were a little under exposed though. Next time don’t change camera settings going from normal to D-log. I know people get messed up on the fact that it forces you to use a higher ISO in DLog but this is just gain, it can be undone in post and it’s not the same thing as actual exposure ie aperture and shutter speed and is different from photo mode. Usually you want to expose log a little more. And BTW the in camera light meter doesn’t work correctly for log. On the Inspire 2 it literally gets disabled when shooting log to avoid confusion.

The D-log doesn’t get the computational adjustments and looks quite soft without it. We are seeing the effects of the limitations of making such as a small lens for this sensor. It’s quite poor compared to the Inspire 2. They are doing a good job of correcting it in normal mode but D-Log doesn’t get this. Usually I’d find that to be a good thing but it’s too soft for my taste.

If it were me I’d stick with that normal mode ProRes but lower the contrast and sharpening. It’s clear the DLOG is capable of holding a lot more dynamic range but we’ll have to see both modes pushed to the limit to see if it’s really worth it. So far it doesn’t look like it.

 

[collins]

First of all the normal ProRes looks like it is 10 bit color after all, it also looks excellent. I would turn down the sharpening and contrast in camera for more latitude in post but the imaging processor nailed it in on this one. A quite strong s curve is being applied and some other tone mapping as well as computational adjustments are being made in camera. It’s looks nice.

But we cant turn down the contrast and sharpening 'in camera' which is a big shame as this is really all the 'normal' video needs to give a great starting point. Is there any indication from DJI that they are planning to introduce these controls in a software update?

 

[brett8883]

But we cant turn down the contrast and sharpening 'in camera' which is a big shame as this is really all the 'normal' video needs to give a great starting point. Is there any indication from DJI that they are planning to introduce these controls in a software update?

I didn’t realize you couldn’t adjust them. Is that only for ProRes or for h.264/5 too?

 

[collins]

I didn’t realize you couldn’t adjust them. Is that only for ProRes or for h.264/5 too?

Yes, sadly in all modes - it is one of the drawbacks of the 'simplified' 'Fly app' compared to the GO4 app.

 

[NoMavic3LUTassist]

So I am really interested as to whether DLOG ProRes (as opposed to normal ProRes) is really necessary on the Mavic 3 Cine. I really dont have enough experience with ProRes to test this properly myself.

I have been using normal ProRes. It does have a number of advantages.
1. Cleaner view on the Pro Controller (which doesnt have a lut emulator) (Also easier to expose correctly)
2. More flexibility with isos. The high isos of DLOG Prores means NDs which then makes shooting stills at low isos tricky.
3. I sort of consider ProRes 'raw' and nobody shoots stills in 'raw' with Log
4. There seems quite a lot of dynamic range in normal prores, colors are a good starting point.

The advantages of DLOG should be much better dynamic range (and honestly it isnt that much of a hassle to throw a lut on in post.)

So what are users thoughts on this?

DLog does get you more flexibility before banding as well as more DR, so yes. As long as you are in 10 bit, a colorist will certainly notice more there. RAW is a completely different way of achieving quality than log. Consider LOG a visual trick to get the recorder to record more information. RAW is more like turning the recorder off and just piling up a folder full of raw sensor data without it ever being computed into footage. LOG wouldnt even enter into the equation until after the RAW is put together to make an image. What I do suggest is comparing the prores with the h.265. I stopped using the Prores after comparing the image quality. Its almost as though its the same h.265 with an .mov wrapper. Im saving a lot of turnaround with smaller media footprint as well. Just a suggestion for a fellow pilot. Cheers!