From Flat to Cinematic: Colour Grading DJI D-Log M in Final Cut Pro

I’ve always loved getting the most cinematic look possible from my equipment—whether I’m flying my DJI Air 3S, shooting on my Sony ZV-E10 II, or even experimenting with an underwater setup. For me, that perfect cinematic finish almost always comes down to careful colour grading in post.

I’ve been filming and editing since I was 20 years old, backed by a degree in digital media, and my recent passion for drone videography has pushed me to explore new creative ways to bring out the best in every shot. In my previous article about filming in DJI D-Log M, I covered how to capture the flattest, most flexible image straight out of your DJI drone.

This follow-up is all about what comes next: colour grading your DJI D-Log M footage in Final Cut Pro (v11.1.1). D-Log M is designed to preserve detail and dynamic range, but that flat, grey look needs grading before it comes to life. In this guide, I’ll walk you step by step through the process of turning that footage into a vibrant, cinematic video inside Final Cut Pro.

Here’s an example of the difference a little colour grading can make to your footage. The difference is between a DJI Air 3S shooting in automatic mode vs D-Log M, colour graded in FCP.

Preparing Your Footage in Final Cut Pro

Before you dive into colour grading, it’s important to set up your project in Final Cut Pro correctly. A solid foundation makes the grading process smoother and ensures your DJI D-Log M footage looks its best.

1. Importing DJI D-Log M Clips

1. Open Final Cut Pro and create a new Library or Project dedicated to your drone footage.
2. Use the Import Media tool to bring in your DJI clips. I recommend copying the files into the Library to keep everything organised in one place.
3. Once imported, skim through your clips and favourite or reject them as needed. This helps you quickly narrow down the shots you’ll actually grade. Find your start point and press ‘i’ and then find your end point and press ‘o’. Then press ‘f’ to favourite.

2. Setting Up Project Settings

• When creating your project, match the frame rate and resolution to how you filmed (e.g., 4K 25fps, 4K 30fps, etc.).
• For most workflows, set the colour space to Rec.709. This is the standard for YouTube, social platforms, and general video delivery.
• If you’re planning an HDR workflow, you can switch to Rec.2020 HLG, but keep in mind this requires an HDR-capable display and platform for proper playback. For most creators, Rec.709 is the safest and most consistent choice.

3. Organising Footage for Easier Grading

• Create Events or keyword collections within your Library (e.g., “Drone Shots,” “B-Roll,” “Establishing Shots”) so you can quickly find what you need.
• For complex projects, consider using Smart Collections to group clips by frame rate or camera, especially if you’re mixing DJI drone footage with clips from your Sony or underwater camera.
• If you’re working on a longer project, applying roles (video, dialogue, effects, music) at this stage can also save time later during editing and export.

This YouTube tutorial from Ben Johnson explains footage organisation perfectly.

With your clips imported, your project settings locked in, and everything neatly organised, you’re ready to move on to the fun part, bringing that flat DJI D-Log M look to life through colour grading.

LUT (Lookup Table) or Grade from Scratch?

You’ll also need to decide whether to use DJI’s official LUTs or build your grade from scratch. DJI LUTs are a quick way to convert D-Log M into a natural-looking image, but they can sometimes feel a little too contrasty or saturated. Manual grading (or custom LUTs) gives you more creative control, allowing you to fine-tune colours and achieve a consistent look across different shots.

Applying DJI’s Official LUTs in Final Cut Pro

One of the easiest ways to bring your D-Log M footage to life is by using DJI’s official LUTs (Look-Up Tables). These LUTs are designed by DJI to quickly convert the flat, grey look of D-Log M into a more natural Rec.709 image.

1. Downloading DJI’s LUTs

• You can download the official LUTs directly from DJI’s website: DJI LUT Download Page
• Once downloaded, unzip the package and locate the D-Log M to Rec.709 LUT files.

2. Installing LUTs in Final Cut Pro

1. Select a clip in your timeline.
2. In the Effects Browser, search for Custom LUT.
3. Drag the Custom LUT effect onto your clip.
4. In the Inspector, you’ll now see a dropdown menu for LUTs.
5. Click Choose Custom LUT and navigate to the DJI LUT you downloaded.

3. Applying LUTs to Clips or Adjustment Layers

• You can apply the LUT directly to individual clips, but a cleaner workflow is to use an adjustment layer (a free plugin like MotionVFX’s mAdjustment Layer works great).
• Place the adjustment layer above all your drone clips, apply the DJI LUT to it, and everything underneath will inherit the grade. This keeps your timeline organised and makes global changes easier.

I’ll explain more about adjustment layers later on.

4. Fine-Tuning LUT Intensity

• DJI LUTs can sometimes look a little heavy-handed straight out of the box.
• In the Inspector, you’ll find a Mix slider (opacity control) for the LUT effect. Dial it back to around 70–80% for a more natural result.
• You can then use Final Cut Pro’s built-in colour wheels or curves to tweak exposure, contrast, and saturation until it feels cinematic.

With the LUT applied and adjusted, your footage already looks far closer to the polished end result. The next step is to refine it through manual grading for full creative control.

Here is a quick before and after:

Side-by-side comparison

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Manual Colour Grading Workflow in Final Cut Pro

While LUTs are a great starting point, the real magic happens when you grade manually. This allows you to fine-tune your footage and create a unique, cinematic look that matches your style. Here’s a step-by-step workflow you can follow inside Final Cut Pro 11.1.1:

Step 1: Correct White Balance and Exposure

1. Select your clip and open the Colour Wheel Inspector.
2. Open Color & Effects from the Workspaces Window.
3. Use the Luma Waveform scope to check your exposure.
4. Adjust the shadows wheel brightness slider so it’s just above 0 and the highlights brightness wheel slider just under 100 to maximise dynamic range.
5. Watch the Luma waveform move when adjusting the colour wheels and avoid crushing blacks or clipping whites, as this loses detail. Below 0 or above 100 will push the colours too far. Play around with the highlights and shadows first to see what looks best.

Step 2: Adjust Colour and Saturation

• Slowly raise the global saturation until colours look natural. Saturation is the slider on the left of the wheel.
• Use the midtones colour wheel to fine-tune skin tones and the overall mood. You can pull the dot in the middle of the wheel for fine adjustments.
• If skies or greens look too strong, use the Hue/Saturation Curves to isolate and adjust them.

The difference:

Step 4: Apply a Creative Look

• Once your base grade is locked in, add a stylistic touch.
• For a cinematic feel, try a subtle teal-and-orange look by shifting shadows towards teal and highlights towards warm orange tones.
• Alternatively, push saturation in blues for rich skies or warm up sunset footage for a golden-hour effect.

Step 5: Refine and Match Shots

• Use Comparison Viewer to ensure consistency across clips.
• Copy and paste your grade between clips, then make small adjustments to match lighting conditions.
• If you’re grading multiple camera sources (e.g., DJI + Sony), spend extra time matching their colour science for a seamless edit.

By following these steps, you’ll go from flat D-Log M footage to a polished, cinematic sequence that feels cohesive and professional.

Advanced Grading Tips in Final Cut Pro 11

Once you’ve mastered the basics of grading your DJI D-Log M footage, Final Cut Pro has some powerful tools to help you push your edits even further. These advanced techniques can make your workflow more efficient and your results more professional.

1. Use Adjustment Layers/clips for Non-Destructive Grading

• Instead of applying colour corrections to every clip, place an adjustment layer above your timeline and apply your grade there.
• This keeps your original clips untouched and allows you to tweak or remove the grade at any time without starting over.
• Adjustment layers also make it easy to apply a uniform look across multiple shots at once.

2. Work with Secondary Corrections

• Sometimes you’ll want to adjust specific parts of the image without affecting the whole frame.
• Use colour masks or shape masks to isolate areas, like bright skies, green foliage, or skin tones.
• For example, you can bring down exposure in the sky without touching the landscape, or correct skin tones that look too red after applying a LUT.

3. Match Shots for a Consistent Look

• If your sequence cuts between different lighting conditions, your audience will notice if colours shift dramatically between clips.
• Use the Comparison Viewer to reference another shot while grading.
• You can also copy and paste colour corrections between clips, then fine-tune each one to match exposure and colour balance.

Exporting Your Graded Footage

After all your colour grading work, the final step is exporting your footage in the right format. The settings you choose will depend on where you’re sharing your video.

Recommended Export Settings:

• YouTube & Social Media
  • Format: H.264
  • Resolution: Match project (typically 4K or 1080p)
  • Colour Space: Rec.709 (standard)
  • Bitrate: High Quality (Final Cut Pro’s default is usually sufficient)
• Professional Delivery or Archiving
  • Format: Apple ProRes 422 or 422 HQ
  • Resolution: Match source
  • Colour Space: Rec.709 or Rec.2020 HLG depending on workflow
  • This ensures maximum quality and flexibility if the footage will be re-edited later.

Choosing Rec.709 vs. Rec.2020:

• Rec.709 → Best for most creators. Universally supported on all displays, ideal for YouTube, Instagram, TikTok, and client deliveries.
• Rec.2020 HLG → Only use if you’re producing an HDR project. Keep in mind your audience will need HDR-capable devices to see the full effect, and platforms like YouTube handle HDR differently than SDR.

In short: stick to Rec.709 unless you’re specifically targeting HDR delivery. It’s the most reliable and consistent option.

Wrapping Up

Colour grading is where your DJI D-Log M footage truly comes alive. From flat, washed-out clips to rich, cinematic visuals, the difference is striking, and a good grade can completely transform your storytelling.

If you can, showcase a few before/after comparisons (screenshots or short video clips) so you can see just how much impact grading has.

While DJI’s LUTs provide a quick and easy starting point, don’t be afraid to go beyond them. Experiment with your own adjustments, push creative looks, and develop a personal style that makes your footage stand out.

If you haven’t already, check out my guide on filming in D-Log M with the DJI Mini 4 Pro and Air 3S. It pairs perfectly with this tutorial and gives you the best starting point before heading into Final Cut Pro.

I’ll also be sharing more in-depth tutorials soon, such as creating your own LUTs and exploring colour grading workflows in DaVinci Resolve. Stay tuned if you want to continue refining your grading skills and take your footage even further.