Log + LUT workflow

Shoot in the camera's log profile (D-Log 2) to capture maximum dynamic range, convert with the manufacturer's official LUT to Rec.709, then add style (e.g. Resolve's Film Look Creator) and correction on top. Payoff: exposure mistakes become recoverable — a 2+ stop overexposed sunset clip graded back to clean color.

philip-carneiro's node-stack version of the same idea in DaVinci Resolve, on D-Log M from the dji-osmo-action-6: four serial nodes in the free version — white balance, exposure, DJI's official D-Log M→Rec.709 conversion LUT, then a look LUT (Dopamine Frame) — expanding to nine in the paid version with noise reduction, a correction node, halation, sharpen edges (because YouTube's compression softens the upload), and film grain (16mm his default; 8mm too rough). Labeling each node keeps corrections separable and re-editable. Caveat he repeats: apply the effects per clip, because a small sensor won't carry all of them on every shot.

Sources: Gerrit Knein / Pocket 4P, Philip Carneiro / Action 6