I’ve just bought Filmora 12, and before trying to take the drone out of Auto, does anyone have some reputable LUTS to use that will make the D-Cinelike something to try?
Is there are “Stock set” available to download - or a set that will help those of us trying it out for the first time?
Have you looked at the website/downloads for the the drone/camera manufacturer? there should be at least one there.
for example:
or try here:
The first link is for D-Log … which is different to D-Cinelike.
The second link are style LUTs, and won’t perform the necessary D-Cinelike to Rec.709 transform.
Style LUTs are applied for the required “look” after the D-Cinelike transform LUT.
Can’t help with D-Cinelike, I’m afraid.
I’ve always used D-Log … and the built in colour transform in Davinci Resolve (Studio?).
further to what has already been said, D-Log NEEDS a look-up-table (LUT) applied to it to ‘de-log’ it and put the gamma and colour back within useable range, and from there you do your final cosmetic tweaks. D-Cinelike isn’t LOG it’s more like HLG* - a sort of almost ready high dynamic range image that just requires minor contrast and colour correction - it doesn’t need to be ‘de-logged’.
The best way to process D-Cinelike is currently with DaVinci Resolve which, despite being extremely powerful is also FREE. You can even make your own LUTs in Resolve and export them to be used elsewhere.
It’s good practice to use a Waveform monitor when doing any colour grading in whatever program you use so you can see when you’re overdoing it and making the shadows too dark or the highlights too hot and out of viewable range: just because it looks good on your laptop screen it doesn’t guarantee it won’t look crushed or burnt-out when you upload it to the Youtube or wherever, I mean when was the last time you calibrated your display? - but that’s a whole other conversation!
So to summarise: you need a technical LUT when processing LOG video, and from there you can tweak it if you want.
If it’s not shot in LOG then you can either apply a Cosmetic LUT which assumes the image is already within the REC.709 space and just stylises it - usually adding contrast and colour, or you can use colour-correction software to adjust it.
*So as not to over complicate the subject I’ve assumed most people (probably 98%) edit their videos in SDR (standard dynamic range), whether that’s REC.709, sRGB, P3 etc. - though you really should be working in REC.709, since most displays can’t achieve 1000+nits of brightness (Apple’s XDR displays being one of the few exceptions) they can’t by definition be true HDR.
When editing certain HDR formats (HLG, HDR10, HDR10+, PQ etc.) on a true HDR display you don’t always need to add a LUT since the display can show the native image in the way it is intended.
It’s still early days for HDR video so it’ll be a while before there is proper standardisation.
I’ll stop here as I’m beginning to bore myself - imagine what it must be like for my missus!
Thanks for the explanation - and adding to my understanding of D-Cinelike. 
(Not that I use it. 
)
it’s a whole can of worms and I’m learning new stuff about HDR every day.
HDR (high dynamic range) is also one of those generic labels that has been hijacked by every electronics manufacturer because it sounds good.
But we are slowly narrowing down what constitutes a HDR display and one of those is the ability to display a minimum 1000 nits brightness…and it’s not linear either, that would be too easy! a 700 nit screen is about half as bright as a 1000 nit screen.
And the worst part is, whenever my brain learns new stuff it pushed old stuff out to make room.
You can get a Leeming LUT for the Mini 3 Cinelike to covert to a Rec.709 output if required.
But ultimately, Cinelike isn’t LOG. If you dont need legal colours or cross device matching, twiddling dials in Resolve to make it look nice will suffice.