Use S-Log3 LUTs on DJI Pocket 3 D-Log M

If a Sony S-Log3 LUT looks too contrasty, oversaturated or simply wrong on DJI Osmo Pocket 3 footage, the LUT is not necessarily the problem. The input is.

The Pocket 3 can record 10-bit D-Log M, but D-Log M and Sony S-Log3 are not interchangeable. A creative LUT built for S-Log3 expects a specific tonal and colour response. Applying it directly to D-Log M means feeding the LUT values it was not designed to interpret.

The clean solution is a log-to-log conversion:

DJI Pocket 3 D-Log M → S-Log3-based working space → S-Log3 creative LUT → final output

This keeps the footage in a flexible grading space while giving your S-Log3 LUT a more appropriate starting point.

Why an S-Log3 LUT does not work correctly on D-Log M

A LUT is not an intelligent filter. It applies a fixed transformation based on the values it receives.

That transformation only behaves as intended when the input matches the colour space for which the LUT was built. D-Log M and S-Log3 encode contrast, saturation and colour relationships differently. Even when both images look similarly flat before grading, they are not technically the same.

Applying an S-Log3 LUT directly to Pocket 3 D-Log M can cause:

• Contrast to build too quickly

• Shadows to close or become unnaturally coloured

• Highlights to respond differently from the intended roll-off

• Saturation to become uneven

• Skin tones to shift

• Different results from the same LUT used on a Sony camera

You may be able to compensate manually, but you are then correcting a colour-space mismatch after it has already entered the look. A technical conversion before the creative LUT gives you a cleaner and more repeatable pipeline.

What a D-Log M to S-Log3 conversion actually does

A D-Log M to S-Log3 conversion is a technical transform, not a finished grade.

It maps the Pocket 3 footage into the S-Log3-based working space expected by the next stage of the pipeline. The converted image should still look log-like. Its purpose is to make contrast and colour behave more predictably when you add an S-Log3 creative LUT or combine the Pocket 3 with Sony footage.

It does not:

• Add a cinematic look by itself

• Turn the Pocket 3 sensor into a Sony sensor

• Fix incorrect exposure or white balance

• Remove differences created by lenses, lighting or in-camera processing

• Replace shot-by-shot balancing

Think of the conversion as a common technical starting point. It removes one predictable mismatch so you can spend your grading time on the image rather than rebuilding the same workaround for every clip.

The correct LUT order

The order of operations matters. A useful general structure is:

The last point is important. Some S-Log3 LUTs are technical S-Log3-to-Rec.709 transforms. Others combine a creative look with a Rec.709 output, while some are designed to remain in a log or scene-referred workflow.

Check what your LUT expects and what it outputs. If the creative LUT already produces a display-ready Rec.709 image, adding another Rec.709 transform can create excessive contrast and saturation.

D-Log M to S-Log3 in DaVinci Resolve

In a straightforward node-based Resolve grade, I would use the following structure:

1. Node 1 — Source balance

   Make essential exposure and white-balance corrections while the footage is still upstream of the look.

2. Node 2 — D-Log M to S-Log3 conversion

   Apply the technical conversion LUT to the original Pocket 3 D-Log M signal.

3. Node 3 — S-Log3 creative LUT or look

   Add the LUT that was designed for the converted working space.

4. Node 4 — Output and finishing adjustments

   Add the required display transform if it is not already part of the creative LUT, then make final trims.

This order makes it easier to adjust a shot without fighting the creative LUT. If one clip is too warm or slightly underexposed, correct the source upstream instead of trying to repair the finished look downstream.

In a colour-managed Resolve project, the exact setup depends on the wider pipeline. Avoid adding transforms automatically just because they are part of a familiar node tree. Confirm what Resolve is already doing, what the conversion LUT outputs and what the creative LUT expects.

Using the same workflow in Premiere Pro or Final Cut Pro

The principle is identical in software without a node graph: keep the technical and creative stages separate.

In Adobe Premiere Pro, use separate Lumetri Color effects or clearly separated adjustment stages. Place the D-Log M to S-Log3 conversion before the S-Log3 creative LUT. Perform source corrections upstream where possible and avoid applying a second output conversion if the creative LUT already delivers Rec.709.

In Final Cut Pro, stack separate Custom LUT effects in the same order: technical conversion first, creative LUT second. Keep any final output treatment after both stages.

The .cube format is also supported by other LUT-capable applications. Whatever software you use, the essential rule remains the same:

Convert first, create the look second.

Should you convert D-Log M to Rec.709 instead?

Sometimes, yes.

DJI provides an official Pocket 3 D-Log M to Rec.709 LUT. If you want a quick, neutral, display-ready starting point and do not need an S-Log3 pipeline, that may be the most direct option.

Use the official Rec.709 route when:

• You want a fast standard conversion

• Your creative LUT is designed for Rec.709

• You are not mixing the footage into an S-Log3 workflow

• You do not need to reuse S-Log3 monitoring or look tools

Use a D-Log M to S-Log3 conversion when:

• You already own creative LUTs designed for S-Log3

• Your main cameras are Sony FX3, FX30, FX6 or another S-Log3 camera

• The Pocket 3 is a compact B-camera in a Sony-led production

• You want a more consistent working stage across a mixed-camera timeline

Do not convert D-Log M to Rec.709 first and then apply a LUT that expects S-Log3. Once the image has been transformed into Rec.709, it is no longer the correct input for that S-Log3 LUT.

Matching Pocket 3 footage with Sony FX3 or FX30

A shared working space makes mixed-camera grading easier, but it does not make the cameras identical.

The Pocket 3 and a Sony FX3 or FX30 still differ in sensor response, lens characteristics, noise texture, sharpening, exposure and white balance. The conversion gives both cameras a more consistent technical foundation; the final match still needs visual judgement.

For a better match:

1. Set exposure and white balance deliberately in-camera.

2. Avoid relying on auto white balance when continuity matters.

3. Match overall exposure before chasing individual hues.

4. Compare neutral objects and skin tones using scopes as well as your eyes.

5. Adjust the Pocket 3’s in-camera sharpness and noise-reduction settings to suit the main camera.

6. Make the final camera match before or around the creative look, depending on your pipeline.

The goal is not to pretend both cameras captured the same image. The goal is to remove the unnecessary colour-space mismatch so the remaining differences are easier to grade.

Common mistakes to avoid

Applying an S-Log3 LUT directly to D-Log M

The image may look acceptable in one shot and fall apart in another. Similar-looking flat profiles are not automatically compatible.

Using the conversion on Normal, HLG or standard D-Log footage

The input must be Pocket 3 D-Log M. A technical LUT cannot identify and correct the wrong recording profile by itself.

Applying two output transforms

If your creative LUT already converts S-Log3 to Rec.709, do not add another Rec.709 transform after it.

Expecting a perfect Sony camera match

A colour-space conversion cannot remove physical differences between sensors, lenses and in-camera processing. It creates a better starting point, not a clone.

Ignoring exposure and white balance

Technical accuracy does not rescue poorly balanced source footage. Correct the shot before expecting a creative LUT to behave consistently.

A repeatable Pocket 3 to S-Log3 workflow

The Offwhitecolor DJI Osmo Pocket 3 D-Log M to S-Log3 Conversion LUT was built for this exact gap in the workflow.

It performs a log-to-log transformation from Pocket 3 D-Log M into its defined S-Log3-based output, mapping the tonal and colour-gamut relationships together before the creative grade. It is intentionally neutral: the conversion does not impose a finished look, so you can continue with your own S-Log3 LUTs, shot matching and colour management.

The package includes one .cube conversion LUT and works in DaVinci Resolve, Adobe Premiere Pro, Final Cut Pro, After Effects and other applications with LUT support.

Bring DJI Pocket 3 D-Log M into your S-Log3 workflow →

Frequently asked questions

Can I use an S-Log3 LUT directly on DJI Pocket 3 D-Log M?

You can load the LUT, but it will not receive the input it was designed for. Contrast, saturation and colour may therefore behave incorrectly. Convert the D-Log M footage into the intended S-Log3-based working space first.

Is DJI D-Log M the same as Sony S-Log3?

No. They are different recording encodings with different tonal and colour relationships. Their similarly flat appearance does not make them interchangeable.

Is D-Log M the same as DJI D-Log?

No. D-Log M and D-Log are different profiles. Use a conversion designed specifically for the Pocket 3 D-Log M input.

Will a conversion LUT make the Pocket 3 match an FX3 perfectly?

No. It aligns the working space, but sensor, lens, exposure, white balance, lighting and in-camera processing still affect the image. You will still need to balance and match the shots.

Do I still need a Rec.709 transform?

Only if the next LUT or colour-management stage does not already create the required output. Some creative S-Log3 LUTs include a Rec.709 conversion; others do not. Check the documentation and avoid double transforms.

Final takeaway

If your destination is a quick neutral Rec.709 image, DJI’s official conversion is a sensible option. If you want to reuse S-Log3 creative LUTs or integrate Pocket 3 footage into a Sony-led workflow, convert D-Log M into the appropriate S-Log3-based working space before the creative look.

The correct input gives the LUT a chance to do what it was designed to do. From there, exposure, balance and taste remain in your hands.