How I Film Cinematic Cycling Videos With the DJI Osmo Action 6 (Settings + Workflow)

TL;DR

• A one-camera challenge: Philip Carneiro films an entire 18-minute cycling video — riding footage, B-roll, and the talking-head sections — on nothing but a DJI Osmo Action 6, with the only exceptions being the shots where the camera or its accessories appear in frame (frame_0007 carries the on-screen title card "THIS VIDEO IS ENTIRELY SHOT ON THE DJI OSMO ACTION 6").
• The headline technical claim contradicts the standard advice: the 180° shutter rule does not apply to action cams on a bike. Digital stabilization (RockSteady) needs sharp edges to track; at 1/50 the motion blur from riding destroys the detail it needs, so the footage comes out shaky. He shoots 1/200 fixed on the bike and lets ND filters handle the exposure — and warns from his own mistake in this very video, where he switched to 1/50 for one static curve shot, forgot to switch back, and lost every subsequent clip to shake.
• Full settings dump [05:21]: 4K/25fps, custom full-sensor-width aspect ratio (so he can reframe and crop in post), RockSteady stabilization, Natural white outdoors / Standard indoors, Pro mode with manual exposure, 1/200, ISO 100-6400, EV −0.3 to protect highlights, D-Log M 10-bit with color recovery on, f/2.6 (f/4 when very bright), and noise reduction + texture both turned down because zeroed defaults "look too digital."
• Accessories ranked by what he'd actually buy first [10:28]: ND filters (the 16 and 32 see the most use), then the mouth mount — "it can look a bit stupid, but for me it's the best and most secure way to record my bike rides" and much safer than one-handed filming — then a microphone (he demos internal vs external audio back-to-back at [09:45]). Freewell sent the filters/cage/magic arm unpaid; he's explicit there's no sponsorship.
• Two-tier DaVinci Resolve grade: a free-version 4-node stack (white balance → exposure → DJI's official D-Log M→Rec.709 conversion LUT → look LUT from Dopamine Frame, also bought unpaid) and a paid-version 9-node version adding noise reduction, a correction node, halation, sharpening, and grain (16mm his default). Repeated caveat: be subtle, "the action cam is very nice, but it's limited in the image quality, so not every clip will look good with all these settings applied."
• Closes on craft over gear [17:17]: "Money can buy you gear, but it most definitely can't buy you your own skills" — ten years of shooting is what produces the look, not the purchase.

Key moments

• [00:13] Thesis + montage open — "Today we'll show you how to film cinematic bike videos with only using the DJI Osmo Action 6," then a ~90-second music-driven montage: morning routine, bathroom POV (frame_0003), kit on, route planning (frame_0009), rolling out (frame_0010).
• [01:14] The premise — callback to his setup video: if he could keep only one camera it would be the Action 6, "and today we're going to prove this."
• [03:05] Proof-of-concept reveal — the talking-head section is also shot on the action cam (frame_0022); the front-facing display is what makes it viable for self-filming. Only accessory/product shots use another camera.
• [03:38] Settings matter — "If you film everything in auto, you won't get the best results you can get with this action cam."
• [03:51] The 180° rule and why it breaks here — normally 1/50 at 25fps, but digital stabilization crops from a larger frame and needs sharp edges to track; bike-speed motion blur starves it. Hence 1/200 on the bike, always.
• [04:46] His own cautionary tale — he dropped to 1/50 for a static curve shot, forgot to restore 1/200, and all following shots came back unusably shaky. Advice: set it and don't touch it while riding.
• [05:21] Full settings walkthrough — 4K25, custom full-width aspect ratio for post-crop latitude, RockSteady, Natural/Standard white, Pro + manual exposure, 1/200, ISO 100-6400, EV −0.3, D-Log M 10-bit + color recovery, f/2.6 (f/4 if bright), NR and texture dialed down (frame_0029 shows the camera in hand).
• [06:57] Accessories (unpaid Freewell) — ND filters as "sunglasses for your lenses," 16 and 32 most used (frame_0033); mist and polarizing filters can't stack with NDs so they stay niche; the cage has already saved the camera from falls.
• [08:11] The mouth mount — his most-used cycling mount: POV immersion, both hands stay on the bars, stows fast in a jersey pocket. "It can look a bit stupid, but for me it's the best and most secure way."
• [08:45] Magic arm, fill light, mic — clamp mount for alternate angles on rides and indoors (frame_0049, frame_0054); a small LED compensates for the tiny sensor's weak low light; DJI Mic 2 (~50 bucks) clipped to bib shorts cuts wind noise. Adventure Combo spare batteries plus a selfie stick converted into a tripod with phone-tripod legs (frame_0053/frame_0054).
• [10:28] The buying order — ND filters first, then mouth mount, then microphone.
• [10:53] Free-version grade — 4 serial nodes (⌥S on Mac) labeled white balance / exposure / conversion / LUT; DJI's official D-Log M→Rec.709 LUT first, then gentle exposure, then a Dopamine Frame look LUT; before/after at [13:32] (frame_0057 shows the Resolve timeline).
• [13:43] Paid-version grade — 9 nodes adding noise reduction, a correction node (pulling blue down here), halation, sharpen edges (because "YouTube compresses the footage down"), and film grain — 8mm too rough, 16mm his default, 35 smoother.
• [17:17] Craft over gear close — ten years of shooting built the skill set; "just go with what you have and just try to make videos with it and you will learn a lot."

Hook microscope (0-10s)

• Frames: 20 at 2 fps
• Word-level transcript (3 words):

  [  6.50s] PUSH
  [  7.70s] THIS
  [  7.88s] PUSSY

No spoken hook at all — the first 10 seconds are pure music-over-montage (the word-level pass picked up song lyrics, not narration). Visually it opens in-medias-res on an intimate, mundane POV: a hand reaching for a bathroom light switch from a chest-height action-cam angle (frame_0001), then a silhouetted sunburst through the shower window (frame_0002), then the wide-angle close-up of him cutting his own hair straight into the lens (frame_0003). The pattern is demo-as-hook: rather than claiming the camera is cinematic, the opening simply is the proof — every frame the viewer is judging was shot on the camera under discussion, and the low-light bathroom material is deliberately the hardest case for a small sensor. The verbal thesis is withheld until [00:13] and the actual premise until [01:14].

Editorial profile

• Shots: 60
• Cuts/min: 3.29
• Mean shot length: 18.25s
• Median shot length: 5.68s
• Talking-head ratio: n/a (opencv not installed)

Patient vlog-documentary pacing (3.3 cuts/min, 18.3s mean but 5.7s median — long talking-head takes punctuated by fast montage runs): music-led cold open, warm serif chapter cards over riding footage ("settings," "color grading"), stabilized POV bar-and-mouth-mount B-roll, and a locked-off yellow-armchair interview setup; all of it self-shot on the reviewed camera as the argument itself.

Quotable moments

• [03:12] "Everything in this video is filmed with the action cam. The only shots that are not filmed with it is where you can see the accessories or the action cam itself in frame."
• [03:42] "If you film everything in auto, you won't get the best results you can get with this action cam. So, really important is to know what you're doing."
• [04:36] "That's why applying the 1/50 shutter rule is not really working in this scenario. So, that's why I use on the bike always a shutter speed around 1/200 of a second."
• [08:14] "It can look a bit stupid, but for me it's the best and most secure way to record my bike rides."
• [14:45] "You have to be subtle with it because the action cam is very nice, but it's limited in the image quality, so not every clip will look good with all these settings applied."
• [17:35] "Money can buy you gear, but it most definitely can't buy you your own skills."

Entities mentioned

• People: philip-carneiro
• Companies: DJI, Freewell, Blackmagic Design (DaVinci Resolve), Dopamine Frame, Pas Normal Studios (kit worn), Specialized
• Tools / products: dji-osmo-action-6, ND filters (ND16/ND32), mouth mount, Freewell cage, magic arm, DJI Mic 2, DaVinci Resolve, D-Log M, RockSteady, Dopamine Frame LUTs
• Places: Black Forest / southern Germany road riding (Spirzen signposts at [~12:00])

Concepts surfaced

• action-cam-shutter-exception: the 180-degree-shutter-rule inverts on action cams — digital stabilization needs sharp edges to track, so bike-speed motion blur at 1/50 breaks RockSteady; shoot 1/200 fixed and control exposure with ND.
• log-plus-lut-workflow: D-Log M 10-bit → official DJI conversion LUT → look LUT, in a labeled node stack (4 nodes free / 9 nodes paid) so each correction stays separable.
• subtle-grade-for-limited-sensor: halation, sharpening, and grain flatter good footage but expose a small sensor's limits — apply per-clip, not as a preset.
• one-camera-proof: make the gear claim by filming the entire argument on the gear, talking heads included; the on-screen disclosure of the few exception shots is what keeps it honest.
• buy-order-over-buy-list: rank accessories by acquisition order (ND → mouth mount → mic) instead of listing everything, so the advice survives a small budget.
• quality-without-production / craft-over-gear: "money can buy you gear, but it most definitely can't buy you your own skills" — ten years of practice is the unbuyable input.

Transcript

Source: captions.

[00:14] >> Today we'll show you how to film cinematic bike videos with only using
[00:16] cinematic bike videos with only using the DJI Osmo Action 6.
[01:14] >> In the video about my setup, I told you that if I would have to choose only one
[01:16] that if I would have to choose only one camera,
[01:17] camera, it most definitely would be the DJI
[01:19] it most definitely would be the DJI Action 6.
[01:20] Action 6. And today
[01:21] And today >> [music]
[01:22] >> [music] >> we're going to prove this
[01:23] >> we're going to prove this and just use this one camera for this
[01:25] and just use this one camera for this video.
[01:27] video. >> [music]
[01:59] [music] >> Woo!
[03:05] >> Back from the ride, back in the office, filming this talking head section with
[03:07] filming this talking head section with the action cam as well. I would normally
[03:08] the action cam as well. I would normally use my bigger camera, but as you can
[03:10] use my bigger camera, but as you can see, it's totally fine with the action
[03:12] see, it's totally fine with the action cam.
[03:13] cam. Everything in this video is filmed with
[03:14] Everything in this video is filmed with the action cam. The only shots that are
[03:16] the action cam. The only shots that are not filmed with it is where you can see
[03:19] not filmed with it is where you can see the accessories or the action cam itself
[03:21] the accessories or the action cam itself in frame.
[03:22] in frame. >> [music]
[03:22] >> [music] >> So, you can get a proper view how it is
[03:24] >> So, you can get a proper view how it is to use it. It's actually also really
[03:26] to use it. It's actually also really good for these talking head sections
[03:27] good for these talking head sections because you have a display in front
[03:29] because you have a display in front facing you, so you can [music] really
[03:31] facing you, so you can [music] really see what you're filming.
[03:39] Okay, one of the most important things when filming with the action cam is
[03:41] when filming with the action cam is getting your settings right.
[03:43] getting your settings right. If you film everything in auto, you
[03:45] If you film everything in auto, you won't get the best results you can get
[03:47] won't get the best results you can get [music] with this action cam. So, really
[03:49] [music] with this action cam. So, really important is to know what you're doing.
[03:52] important is to know what you're doing. One rule you already might be familiar
[03:54] One rule you already might be familiar with is the 180° shutter rule. Normally,
[03:57] with is the 180° shutter rule. Normally, you always want to double the shutter of
[03:59] you always want to double the shutter of your frame rate. I normally film
[04:01] your frame rate. I normally film everything in 25 frames per second. So,
[04:04] everything in 25 frames per second. So, my shutter, according to this rule,
[04:06] my shutter, according to this rule, should be 1/50 of a second. [music] But,
[04:08] should be 1/50 of a second. [music] But, with the action cam, there is a little
[04:10] with the action cam, there is a little caveat. And this is for all action cams,
[04:13] caveat. And this is for all action cams, not only the DJI one that I'm using.
[04:15] not only the DJI one that I'm using. [clears throat] Action cams use digital
[04:16] [clears throat] Action cams use digital stabilization. They record like a bigger
[04:19] stabilization. They record like a bigger picture and then they crop in a little
[04:21] picture and then they crop in a little bit to stabilize the image. For that,
[04:24] bit to stabilize the image. For that, they need sharp details and edges. So,
[04:27] they need sharp details and edges. So, the problem is when on the bike and
[04:29] the problem is when on the bike and you're moving really fast, that there's
[04:31] you're moving really fast, that there's so much motion blur that the action cam
[04:33] so much motion blur that the action cam cannot really recognize how the image
[04:35] cannot really recognize how the image [music] looks. That's why applying the
[04:37] [music] looks. That's why applying the 1/50 degree shutter rule is not really
[04:39] 1/50 degree shutter rule is not really working in this scenario. So, that's why
[04:42] working in this scenario. So, that's why I use on the bike always a shutter speed
[04:44] I use on the bike always a shutter speed around 1/200 [music]
[04:45] around 1/200 [music] of a second.
[04:46] of a second. I actually messed it up myself while
[04:48] I actually messed it up myself while recording this video. For one static
[04:50] recording this video. For one static shot that I did when we rode through a
[04:52] shot that I did when we rode through a curve, I changed back to 1/50 of a
[04:54] curve, I changed back to 1/50 of a second because it looks much more
[04:56] second because it looks much more natural and there's not much motion blur
[04:59] natural and there's not much motion blur in it. But, then I forgot to turn it
[05:00] in it. But, then I forgot to turn it back to 1/200 of a second and for that
[05:02] back to 1/200 of a second and for that all the following shots that I did are
[05:05] all the following shots that I did are really shaky and now [music] I can't use
[05:07] really shaky and now [music] I can't use them anymore. So, one advice I would
[05:08] them anymore. So, one advice I would give you, when you're on the bike, just
[05:10] give you, when you're on the bike, just leave it at 1/200 of a second [music]
[05:12] leave it at 1/200 of a second [music] and don't change it by riding because
[05:14] and don't change it by riding because otherwise you will maybe mess up some
[05:16] otherwise you will maybe mess up some other shots. Let's jump into the camera
[05:18] other shots. Let's jump into the camera and I'll show you every single setting I
[05:20] and I'll show you every single setting I have on my DJI Action 6.
[05:22] have on my DJI Action 6. Let's dive into the settings.
[05:24] Let's dive into the settings. I always record in 4K resolution in 25
[05:27] I always record in 4K resolution in 25 frames per second.
[05:29] frames per second. And there's the aspect ratio, I use a
[05:31] And there's the aspect ratio, I use a custom aspect ratio which allows me to
[05:34] custom aspect ratio which allows me to record in full width of the sensor,
[05:36] record in full width of the sensor, which allows me to crop in later much
[05:38] which allows me to crop in later much easy much more easily, which then can
[05:40] easy much more easily, which then can come in really handy.
[05:42] come in really handy. And there's a stabilization mode, I use
[05:44] And there's a stabilization mode, I use RockSteady.
[05:46] RockSteady. And I normally use on the bike always
[05:48] And I normally use on the bike always natural white, but you can also use
[05:50] natural white, but you can also use standard. [music] It depends which
[05:52] standard. [music] It depends which look you like. Standard I use when being
[05:55] look you like. Standard I use when being inside,
[05:57] inside, so everything looks normal. I always
[06:00] so everything looks normal. I always put in the pro mode, and I use manual
[06:02] put in the pro mode, and I use manual exposure,
[06:04] exposure, and I use 1/200 of a second, like I
[06:06] and I use 1/200 of a second, like I already said.
[06:08] already said. And as ISO, I use 1 to 6400. And I
[06:10] And as ISO, I use 1 to 6400. And I forgot to mention the EV setting, which
[06:12] forgot to mention the EV setting, which stands for exposure value. I normally
[06:14] stands for exposure value. I normally tend to use a minus 0.3 just to be sure
[06:17] tend to use a minus 0.3 just to be sure that [music] no highlights are clipping.
[06:19] that [music] no highlights are clipping. And this one is really important. I
[06:21] And this one is really important. I really I use Dlog-M 10-bit as my color
[06:24] really I use Dlog-M 10-bit as my color mode.
[06:26] mode. I put the color recovery on on, so you
[06:28] I put the color recovery on on, so you can [music] see better how the colors
[06:29] can [music] see better how the colors will turn out later.
[06:32] will turn out later. And as a aperture, I tend [music] to use
[06:35] And as a aperture, I tend [music] to use 2.6.
[06:36] 2.6. Sometimes, when it's really bright, I
[06:38] Sometimes, when it's really bright, I also use F4. Depends a bit.
[06:41] also use F4. Depends a bit. And as image adjustments, I turn down
[06:44] And as image adjustments, I turn down both noise reduction and texture,
[06:46] both noise reduction and texture, because I just find it to look too
[06:48] because I just find it to look too digital when they are on zero, so I turn
[06:51] digital when they are on zero, so I turn both settings down. Yeah, that's
[06:52] both settings down. Yeah, that's basically it for my settings on my
[06:54] basically it for my settings on my action cam.
[06:57] action cam. >> [music]
[06:58] >> [music] >> To really get everything out of your
[06:59] >> To really get everything out of your camera, you need some accessories.
[07:01] camera, you need some accessories. Freewell was kind enough to send me some
[07:03] Freewell was kind enough to send me some of their accessories they make for the
[07:05] of their accessories they make for the Action 6. Just to be clear, they don't
[07:07] Action 6. Just to be clear, they don't pay me. I just use them because I really
[07:10] pay me. I just use them because I really like them, actually. And there are other
[07:11] like them, actually. And there are other products you could use as well. The most
[07:13] products you could use as well. The most important accessory, for sure, are ND
[07:16] important accessory, for sure, are ND [music] filters.
[07:17] [music] filters. There are three in there, because one is
[07:18] There are three in there, because one is on the camera right now. And I use them
[07:20] on the camera right now. And I use them all the time while [music] cycling. When
[07:23] all the time while [music] cycling. When being outside and using a fixed shutter
[07:24] being outside and using a fixed shutter speed of 1/200 of a second on a sunny
[07:27] speed of 1/200 of a second on a sunny day, it can get quite bright. So, that's
[07:30] day, it can get quite bright. So, that's where you use ND filters. ND filters are
[07:32] where you use ND filters. ND filters are like sunglasses for your lenses, and
[07:34] like sunglasses for your lenses, and they darken the image when, without
[07:36] they darken the image when, without using one, the image would be too
[07:37] using one, the image would be too bright. [music]
[07:38] bright. [music] My most used ND filters are the 16 and
[07:41] My most used ND filters are the 16 and the 32. Freewell also sent me some
[07:44] the 32. Freewell also sent me some special filters like a mist filter and
[07:46] special filters like a mist filter and like [music] a polarization filter.
[07:49] like [music] a polarization filter. They are cool to make some nice effects,
[07:51] They are cool to make some nice effects, but you can't stack them with the ND
[07:52] but you can't stack them with the ND filters, so I normally don't use them
[07:54] filters, so I normally don't use them just in like really specific cases. One
[07:57] just in like really specific cases. One accessory that saved my action cam
[07:59] accessory that saved my action cam already quite a few times is the cage. I
[08:01] already quite a few times is the cage. I actually just leave it on there now cuz
[08:03] actually just leave it on there now cuz when I'm being outside or clamping it
[08:05] when I'm being outside or clamping it somewhere, the action cam can just fall
[08:07] somewhere, the action cam can just fall down and for that it's just much secure
[08:10] down and for that it's just much secure [music] but when you have a cage on it.
[08:12] [music] but when you have a cage on it. My most used mount while cycling is
[08:14] My most used mount while cycling is definitely this mouth mount. It can look
[08:16] definitely this mouth mount. It can look a bit stupid, but for me it's the best
[08:18] a bit stupid, but for me it's the best and most secure way to record my bike
[08:20] and most secure way to record my bike rides. While cycling, it fast can get
[08:23] rides. While cycling, it fast can get quite dangerous to have like one hand
[08:25] quite dangerous to have like one hand only on the handlebar and the other hand
[08:26] only on the handlebar and the other hand filming. So, using this mouth mount
[08:29] filming. So, using this mouth mount [music] works perfect for me. I use it a
[08:31] [music] works perfect for me. I use it a lot for downhills, but also just while
[08:33] lot for downhills, but also just while riding because it's like a POV
[08:35] riding because it's like a POV perspective [music] and it's much more
[08:36] perspective [music] and it's much more immersive than I would achieve while
[08:39] immersive than I would achieve while filming with my hand. It's really easy
[08:41] filming with my hand. It's really easy and fast to put back in my jersey or my
[08:43] and fast to put back in my jersey or my bib shorts, so that's why I'm using it
[08:45] bib shorts, so that's why I'm using it all the time. One small pickup I did and
[08:47] all the time. One small pickup I did and I'm quite enjoying is this magic arm.
[08:51] I'm quite enjoying is this magic arm. With this magic arm, you can actually
[08:52] With this magic arm, you can actually clamp your camera everywhere. I actually
[08:54] clamp your camera everywhere. I actually also use it on my rides to clamp it
[08:56] also use it on my rides to clamp it somewhere to just [music] get some
[08:58] somewhere to just [music] get some different perspectives. It's a bit
[08:59] different perspectives. It's a bit annoying to just take it with you, but
[09:01] annoying to just take it with you, but it's so small that it actually works.
[09:04] it's so small that it actually works. And it's also really nice to use it
[09:06] And it's also really nice to use it indoors like I use it here for you
[09:08] indoors like I use it here for you recording some shots of this video as
[09:10] recording some shots of this video as well. I can easily mount this little
[09:12] well. I can easily mount this little light on my cage of the action cam and
[09:14] light on my cage of the action cam and just use it for some specific shots
[09:16] just use it for some specific shots [music]
[09:17] [music] where I just need a bit of fill light.
[09:19] where I just need a bit of fill light. The action cam has just a little sensor,
[09:21] The action cam has just a little sensor, so it does not have like the best
[09:22] so it does not have like the best low-light performance. For that, this
[09:24] low-light performance. For that, this model light can come in really handy. I,
[09:26] model light can come in really handy. I, for example, use it in this video for
[09:29] for example, use it in this video for the scene where I'm cutting my hair. One
[09:31] the scene where I'm cutting my hair. One little other accessory which I would
[09:33] little other accessory which I would definitely recommend would be this
[09:35] definitely recommend would be this microphone.
[09:36] microphone. Actually like any kind of microphone.
[09:38] Actually like any kind of microphone. You can hear it. The quality of this
[09:41] You can hear it. The quality of this audio is much better using this
[09:43] audio is much better using this microphone than using the Action Cam.
[09:46] microphone than using the Action Cam. This is how it sounds recording with the
[09:48] This is how it sounds recording with the external microphone.
[09:50] external microphone. And this is how it sounds recording with
[09:51] And this is how it sounds recording with the internal microphone of the Action 6.
[09:53] the internal microphone of the Action 6. There are different ones from DJI that
[09:55] There are different ones from DJI that work really well with the Action Cam. I
[09:57] work really well with the Action Cam. I tend to have the DJI Mic 2. It's like 50
[10:00] tend to have the DJI Mic 2. It's like 50 bucks and it works very well with it. I
[10:02] bucks and it works very well with it. I also tend to use it on my bike rides. I
[10:04] also tend to use it on my bike rides. I just clamp it to my bikini shorts and so
[10:06] just clamp it to my bikini shorts and so that I have cleaner audio with less wind
[10:08] that I have cleaner audio with less wind noise. I bought my Action 6 with the
[10:10] noise. I bought my Action 6 with the Adventure Combo and it came with some
[10:12] Adventure Combo and it came with some spare batteries which come really handy.
[10:14] spare batteries which come really handy. And it came with a stick which you
[10:16] And it came with a stick which you actually can use as a tripod.
[10:19] actually can use as a tripod. I had to have some tripod legs for like
[10:21] I had to have some tripod legs for like a phone tripod that I managed to screw
[10:24] a phone tripod that I managed to screw into the stick and now like I have a
[10:26] into the stick and now like I have a tripod for my Action Cam. If you would
[10:28] tripod for my Action Cam. If you would ask me which are the most important
[10:30] ask me which are the most important accessories that I would recommend, for
[10:32] accessories that I would recommend, for sure it would be the ND filters first.
[10:35] sure it would be the ND filters first. Then I would buy a mouth mount.
[10:37] Then I would buy a mouth mount. And then I would buy
[10:39] And then I would buy the microphone.
[10:41] the microphone. >> [music]
[10:53] >> Now we come to a really fun part that we really enjoy and that's color grading. I
[10:56] really enjoy and that's color grading. I use DaVinci Resolve. I for long used the
[10:59] use DaVinci Resolve. I for long used the free version of DaVinci Resolve and most
[11:01] free version of DaVinci Resolve and most of the things I do here you can do in
[11:03] of the things I do here you can do in the free version. I will do an easier
[11:05] the free version. I will do an easier approach first, that's totally included
[11:07] approach first, that's totally included in the free version and then I will do a
[11:10] in the free version and then I will do a more detailed approach with some effects
[11:14] more detailed approach with some effects that you can just do when you have the
[11:15] that you can just do when you have the paid version.
[11:17] paid version. For the easier version we create four
[11:19] For the easier version we create four serial nodes on a Mac, that's option S.
[11:23] serial nodes on a Mac, that's option S. And we label them
[11:25] And we label them as
[11:26] as white balance,
[11:29] white balance, exposure,
[11:36] conversion for the conversion LUTs and LUT for the final look.
[11:38] and LUT for the final look. We first will apply the conversion LUT.
[11:40] We first will apply the conversion LUT. For that, I would always recommend the
[11:42] For that, I would always recommend the official LUT provided from DJI.
[11:45] official LUT provided from DJI. I link it down in the description. It's
[11:47] I link it down in the description. It's on the website.
[11:48] on the website. I have it already here.
[11:50] I have it already here. DJI DJI Osmo 6 Log M to Rec. 709. And
[11:54] DJI DJI Osmo 6 Log M to Rec. 709. And you can already see
[11:56] you can already see it makes quite a difference.
[11:58] it makes quite a difference. Then I will always go to the exposure.
[12:01] Then I will always go to the exposure. This exposure is actually quite good. I
[12:03] This exposure is actually quite good. I wouldn't do too much. Just bring the
[12:05] wouldn't do too much. Just bring the highlights a bit down. Maybe lift up the
[12:08] highlights a bit down. Maybe lift up the shadows a bit.
[12:10] shadows a bit. And for the white balance, I always
[12:13] And for the white balance, I always record in auto white balance. And
[12:15] record in auto white balance. And normally, DJI makes really good
[12:18] normally, DJI makes really good auto white balance. So, I often don't
[12:20] auto white balance. So, I often don't have to adjust it. But just in case, I
[12:22] have to adjust it. But just in case, I would adjust it here.
[12:24] would adjust it here. But for this shot,
[12:25] But for this shot, I leave it here. Maybe we'll come back
[12:27] I leave it here. Maybe we'll come back to it later. We will see.
[12:29] to it later. We will see. And then, for the final step is the LUT
[12:32] And then, for the final step is the LUT I use.
[12:33] I use. Now we come to LUTs. I use LUTs from
[12:35] Now we come to LUTs. I use LUTs from Dopamine Frame. I bought them myself. I
[12:37] Dopamine Frame. I bought them myself. I really enjoy them. I don't have any
[12:39] really enjoy them. I don't have any connections to them. I don't get paid by
[12:40] connections to them. I don't get paid by them or anything. I just seem to enjoy
[12:43] them or anything. I just seem to enjoy them. You can use any LUTs you want. I
[12:45] them. You can use any LUTs you want. I will link down the LUTs from Dopamine
[12:46] will link down the LUTs from Dopamine Frame down below in case you're
[12:49] Frame down below in case you're interested.
[12:50] interested. And for that, you select the node that
[12:51] And for that, you select the node that you put a LUT on. That's really
[12:53] you put a LUT on. That's really important because sometimes you have
[12:55] important because sometimes you have some other nodes selected. So, click on
[12:57] some other nodes selected. So, click on the LUT node and then just look through
[12:59] the LUT node and then just look through them and just
[13:00] them and just um click on the
[13:03] um click on the LUTs that you enjoy the most. For this
[13:05] LUTs that you enjoy the most. For this one, I think I will go for a bit warmer
[13:07] one, I think I will go for a bit warmer approach
[13:08] approach and select this LUT here.
[13:11] and select this LUT here. And then, I will just check if the
[13:12] And then, I will just check if the exposure is right.
[13:14] exposure is right. I will just look through it.
[13:17] I will just look through it. And if the white balance is okay, and
[13:19] And if the white balance is okay, and actually, I'm quite happy how it looks
[13:22] actually, I'm quite happy how it looks already. Maybe we'll turn the highlights
[13:24] already. Maybe we'll turn the highlights a bit down.
[13:26] a bit down. And here at offset, I will bring the
[13:29] And here at offset, I will bring the general exposure a bit down.
[13:32] general exposure a bit down. And that's basically it. Like you can
[13:34] And that's basically it. Like you can see, that's the before and that's the
[13:36] see, that's the before and that's the after.
[13:37] after. And over already
[13:39] And over already looks quite good.
[13:44] For the more detailed approach, you definitely need the paid version of
[13:45] definitely need the paid version of DaVinci Resolve. [music]
[13:47] DaVinci Resolve. [music] I usually make these nine nodes here
[13:50] I usually make these nine nodes here that you can see. As you can see, white
[13:52] that you can see. As you can see, white balance, exposure, conversion lots, and
[13:53] balance, exposure, conversion lots, and lots are the same nodes that I already
[13:55] lots are the same nodes that I already showed you. And then I have some extras.
[13:57] showed you. And then I have some extras. The first one is noise reduction. I
[13:59] The first one is noise reduction. I don't use it often, um just in case, I
[14:02] don't use it often, um just in case, I just leave it there, but most of the
[14:04] just leave it there, but most of the cases I don't use it. This here is the
[14:06] cases I don't use it. This here is the correction lot where I sometimes just do
[14:09] correction lot where I sometimes just do some light corrections [music]
[14:11] some light corrections [music] of the colors, for example. For example,
[14:12] of the colors, for example. For example, here it's a bit too blue for my taste,
[14:15] here it's a bit too blue for my taste, so I turn the blue down a bit.
[14:18] so I turn the blue down a bit. And for that, [music] I go here to this
[14:21] And for that, [music] I go here to this there and just
[14:22] there and just select where [music] I want to turn it
[14:24] select where [music] I want to turn it down.
[14:26] down. And then I will just
[14:28] And then I will just take out the blues a bit.
[14:31] take out the blues a bit. And as you can see,
[14:33] And as you can see, it makes a bit of a difference.
[14:36] it makes a bit of a difference. And the rest, I've already labeled them
[14:38] And the rest, I've already labeled them as halation, sharpen, and grain.
[14:41] as halation, sharpen, and grain. And I often really like the effects, but
[14:44] And I often really like the effects, but you have to be subtle with it because
[14:45] you have to be subtle with it because the action cam is very nice, but it's
[14:48] the action cam is very nice, but it's limited in the image quality, so
[14:51] limited in the image quality, so not every
[14:52] not every not every
[14:54] not every clip will look good with all these
[14:56] clip will look good with all these settings applied.
[14:58] settings applied. But
[15:02] just to show you, we will see if it works on this one.
[15:04] we will see if it works on this one. Put the halation, and actually the
[15:06] Put the halation, and actually the halation here is quite subtle.
[15:08] halation here is quite subtle. You can change here
[15:09] You can change here the threshold and everything.
[15:12] the threshold and everything. I normally just leave it where it is.
[15:14] I normally just leave it where it is. You can [music] change the strength
[15:15] You can [music] change the strength here.
[15:16] here. For this shot, I actually enjoy that it
[15:18] For this shot, I actually enjoy that it looks very subtle,
[15:25] but noticeable, as you can see, Asian creates like
[15:26] creates like a bit reddish highlights.
[15:29] a bit reddish highlights. I think you may be familiar with like
[15:31] I think you may be familiar with like the red [music] highlights
[15:33] the red [music] highlights from from from light sources also.
[15:35] from from from light sources also. Um but it actually also works on
[15:38] Um but it actually also works on daylight footage.
[15:39] daylight footage. And yeah.
[15:41] And yeah. I quite enjoy it. Now we come to
[15:43] I quite enjoy it. Now we come to sharpening.
[15:44] sharpening. YouTube compresses the footage down, so
[15:47] YouTube compresses the footage down, so I usually apply sharpness.
[15:50] I usually apply sharpness. For that, I actually make it I make it
[15:52] For that, I actually make it I make it really easy. I just use the effect
[15:54] really easy. I just use the effect sharpen edges.
[15:56] sharpen edges. And I usually don't adjust
[15:59] And I usually don't adjust anything. I just like how it's subtle
[16:01] anything. I just like how it's subtle but a bit sharpened.
[16:03] but a bit sharpened. And then it will look better on YouTube.
[16:08] And then it will look better on YouTube. For grain, I love grain and I use it a
[16:10] For grain, I love grain and I use it a lot.
[16:11] lot. And for that, I [music] use film grain
[16:13] And for that, I [music] use film grain also from DaVinci Resolve. And then I
[16:15] also from DaVinci Resolve. And then I will just look through
[16:18] will just look through what I like it what I like. 8 mm is
[16:20] what I like it what I like. 8 mm is quite rough.
[16:22] quite rough. I don't know if you can see it really on
[16:24] I don't know if you can see it really on YouTube now.
[16:25] YouTube now. I normally just tend to use 16.
[16:28] I normally just tend to use 16. Sometimes 35.
[16:30] Sometimes 35. Yeah.
[16:31] Yeah. Like higher the number, 16 and 35,
[16:34] Like higher the number, 16 and 35, the yeah, the grain get gets much
[16:37] the yeah, the grain get gets much smoother, so I normally use 16, so you
[16:40] smoother, so I normally use 16, so you can still see it.
[16:42] can still see it. I now
[16:43] I now just could saw hear that here
[16:46] just could saw hear that here now the the blues maybe I will just dial
[16:48] now the the blues maybe I will just dial them back a bit because otherwise you
[16:50] them back a bit because otherwise you get some artifacts.
[16:52] get some artifacts. So yes, now I think it looks better.
[16:54] So yes, now I think it looks better. >> [music]
[16:54] >> [music] >> Okay.
[16:55] >> Okay. And yeah, as you can see, that's all the
[16:57] And yeah, as you can see, that's all the magic. That's my color grading approach.
[16:59] magic. That's my color grading approach. That's the before. That's the after.
[17:02] That's the before. That's the after. And yeah, it makes a lot of difference.
[17:18] [music] >> So we talked a lot about gear and what I
[17:20] >> So we talked a lot about gear and what I use and what you should buy, but
[17:21] use and what you should buy, but actually a really important message that
[17:23] actually a really important message that I also want to convey is
[17:25] I also want to convey is >> [music]
[17:25] >> [music] >> that you just have to put in the hours
[17:27] >> that you just have to put in the hours in to relearn your craft. For me for
[17:29] in to relearn your craft. For me for example, I'm already making photos and
[17:31] example, I'm already making photos and videos for like 10 years now and of
[17:32] videos for like 10 years now and of course over time I developed my own
[17:34] course over time I developed my own skill set that I'm using right now.
[17:36] skill set that I'm using right now. Money can buy you gear, but it most
[17:37] Money can buy you gear, but it most definitely can't buy you [music] your
[17:39] definitely can't buy you [music] your own skills. So just go with what you
[17:41] own skills. So just go with what you have and just try to make videos with it
[17:44] have and just try to make videos with it and you will learn a lot. So just use
[17:46] and you will learn a lot. So just use the tools around you and when you buy
[17:47] the tools around you and when you buy something [music] new then yeah, choose
[17:49] something [music] new then yeah, choose wisely what you're going to buy. So I
[17:51] wisely what you're going to buy. So I hope you enjoyed this video. A lot of
[17:53] hope you enjoyed this video. A lot of people asked me already how I use my
[17:56] people asked me already how I use my action cam, [music] so that's for them.
[17:58] action cam, [music] so that's for them. And yeah.
[18:00] And yeah. Stay tuned. See you in the next one.
[18:02] Stay tuned. See you in the next one. Bye.
[18:04] Bye. >> [music]

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