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.

.CUBE x65 for colour grading

Supported camera and log profiles
DJI (D-Log M)

Software compatibility
Compatible with DaVinci Resolve, Adobe Premiere Pro, Final Cut Pro, CapCut Desktop and other applications that support 3D .cube LUTs.

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