Bring Pocket 3 D-Log M into an S-Log3-based workflow

DJI Pocket 3 D-Log M does not behave like Sony S-Log3. Treating the two as interchangeable can produce inconsistent contrast, saturation and highlight behaviour, while creative LUTs designed for S-Log3 may not respond as intended. This conversion maps Pocket 3 D-Log M into the S-Log3-based working space encoded by the LUT, creating a more predictable technical starting point for grading and mixed Sony / DJI timelines.

This is a technical conversion, not a finished creative look. Apply it before S-Log3 creative LUTs or look development, then continue with normal shot balancing, camera matching and output colour management. It streamlines the workflow; it does not claim to make the Pocket 3 sensor identical to a Sony camera.

What the conversion enables

• More predictable contrast and colour behaviour when Pocket 3 footage enters an S-Log3-based pipeline.

• Improved compatibility with creative LUTs and monitoring tools designed for the specified S-Log3 output.

• A clearer starting point for matching Pocket 3 material with Sony S-Log3 cameras in mixed-camera edits.

• Retention of the usable highlight and shadow information present in correctly exposed D-Log M footage.

• A repeatable technical first stage instead of rebuilding the same manual approximation on every project.

How it works

The LUT performs a log-to-log transformation from DJI Osmo Pocket 3 D-Log M into the defined Sony S-Log3-based output. Gamma and colour-gamut relationships are mapped together so the converted image can enter the intended Sony workflow before the creative grade. Because this is a technical step, correct input footage is essential: the LUT should only be used on Pocket 3 material recorded in D-Log M.

The conversion cannot remove differences caused by sensor response, lens transmission, exposure, white balance, lighting or in-camera processing. Those variables still need to be matched shot by shot. Its purpose is to remove one predictable colour-space mismatch so the remaining grading work begins from a more consistent base.

Best suited for

• Filmmakers combining DJI Osmo Pocket 3 footage with Sony S-Log3 cameras.

• Editors and colorists who already use S-Log3 creative LUTs or monitoring workflows.

• DaVinci Resolve, Premiere Pro and Final Cut Pro timelines that need a repeatable Pocket 3 input stage.

• Travel, documentary, commercial and creator productions where the Pocket 3 functions as a compact second camera.

• One .cube conversion LUT for DJI Osmo Pocket 3 D-Log M to the specified Sony S-Log3-based output.
• Compatibility with LUT-supporting grading and editing applications.
• Lifetime digital updates under the current product policy.

Record the Pocket 3 footage in D-Log M. Apply the conversion before the creative S-Log3 LUT or look stage. In a node-based grade, this usually means placing the conversion after any required source preparation and before creative look development; the exact placement of noise reduction, balancing and output transforms depends on the wider colour-management setup.

The .cube file works in DaVinci Resolve, Adobe Premiere Pro, Final Cut Pro, After Effects and other software with LUT support. Do not apply it to Normal, HLG, standard D-Log or footage that has already been transformed to another colour space.

Does this LUT create a finished look?

No. It is a technical log-to-log conversion. Add colour management, balancing and a creative look after the conversion according to your workflow.

Where should I apply it?

Apply it to DJI Pocket 3 D-Log M footage before any creative LUT or look that expects the specified S-Log3 input. The exact node or effect order should remain consistent with the rest of your colour-management pipeline.

Will it make Pocket 3 footage match a Sony camera perfectly?

No. It aligns the technical working space, but sensor response, lens, exposure, white balance, lighting and in-camera processing still create differences that require shot matching.

Can I use any S-Log3 LUT after the conversion?

The conversion is intended to improve compatibility with LUTs designed for its specified S-Log3 output. Individual creative LUTs may make different gamut, exposure or colour-management assumptions, so always check their documentation.

Does it work with regular D-Log, HLG or Normal footage?

No. The input is specifically DJI Osmo Pocket 3 D-Log M. Applying it to another recording mode will produce an incorrect result.

Version 1.0 — Initial release