Thread: Alan Roberts lab tests URSA Mini 4.6k

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  1. #21  
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    Quote Originally Posted by John Brawley View Post
    I think the point is though that it's pretty easy to do a "better" version of what BM have done with VIDEO as a LUT if the footage is being transcoded later. And anyone who calls themselves a Cinematographer, DP or a camera monkey should be able to do a better LUT that suits their own tastes. VIDEO isn't great and I would never use it but I have a few LUT's that would easily do a better job in that kind of scenario and it's VERY SIMPLE to make a LUT in this workflow and address this.

    No commercial I've done has even been anything other than LOG originated then graded later. I think it's only broadcasters, and event type work that needs it to actually look good right out of the box without anything else happening.

    JB
    Absolutely! I think these cameras were made to be finessed in post. I very rarely work with anything but log these days as well, but it is always interesting when a project comes along that the look has to be done in camera due to turn around times, budget, etc. Case in point, I have worked on the NHL and HBO 24-7 type of shows as both a DIT and a shooter and those turn around times are insane, so look is built in camera as there's not a lot of time for grading on those.
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  2. #22  
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    Quote Originally Posted by John Brawley View Post
    No it's display only at the moment. I have a feeling it's not easily possible to bake it in as the LUT's don't have the same precision.

    It would be great if they could though. That's the easy solution.

    JB
    Thanks JB.
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  3. #23  
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    It's quite normal to use a camera built for RAW with a baked in look. We do this with Red cameras all the time if needed by clients.

    The same is possible with the UM46, but unfortunately you'll need an external recorder like the Atomos Shogun until now. It takes looks you design in Resolve, can store a few of them for different scenarios and load them for recording. And, yes, you can easily design a better LUT that the "Video" setting in BM's cameras.
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  4. #24  
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    Quote Originally Posted by Nomad View Post
    It's quite normal to use a camera built for RAW with a baked in look. We do this with Red cameras all the time if needed by clients.
    How do you bake in a look with RED if you're laying off the files direct to a client ? It always shoots RAW. Are you laying off the files and considering the metadata the baked in feel ? Or are you transcoding ?

    I don't see how you can do baked in and RED unless you're talking about...proxies ? Editing RED natively ? ( which for me isn't baked in)

    JB.
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  5. #25  
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    The new cameras shoot ProRes (2K-4K; depends on model)...but I don't think that's what he meant since we're talking RAW.
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  6. #26  
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    Quote Originally Posted by Frank Glencairn View Post
    And yeah, IMHO every cinematographer should be able to "develop" his material in post.
    I would estimate 90% of the material i get paid to shoot is simply handed off to the production/post production company. The rest I grade quickly, unless I'm retained to grade.

    I read Ansel Adams worked as a commercial photographer, in addition to his "creative" work, and was constantly under financial duress until late in life. A still photographer in the first half of the 20th century would develop their work- most every still photographer had their own darkroom, no?

    As a freelancer in the NYC market, the popular workflow leaves me out of the post process with most of the work i do. Also producers will simply not pay for the RAW post workflow- "Prores please." 90% of the requests are LOG in PRORES at UHD resolution.

    If you get to shoot RAW and supervise the grade with most of the paid work you do- I am GREEN with envy!
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  7. #27  
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    What I wonder, in view of Alan Roberts' disinclination to get into post-production evaluations, is whether his RAW findings hold up -- is there really a stop more of DR in raw than Prores, after Prores has been normalized and (if necessary) graded for maximum range?
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  8. #28  
    Quote Originally Posted by Nomad View Post
    It's quite normal to use a camera built for RAW with a baked in look. We do this with Red cameras all the time if needed by clients.

    The same is possible with the UM46, but unfortunately you'll need an external recorder like the Atomos Shogun until now. It takes looks you design in Resolve, can store a few of them for different scenarios and load them for recording. And, yes, you can easily design a better LUT that the "Video" setting in BM's cameras.

    Doesn't the BM recent firmware update allow you to load up LUTS or is it just for monitoring purposes only. Sometimes I crave for the Baked look from the likes of canon, where the colors are just Vivid and Bold. Always find it hard to replicate this in post. I noticed that Red Cams & Arri seem to produce that baked vivid look when needed. I will love BM to improve the Video format on their cams or if someone can come up with a LUT that can create the broadcast baked in look
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  9. #29  
    Senior Member Frank Glencairn's Avatar
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    Quote Originally Posted by stevesherrick View Post
    So under that premise then, would you not take a gig that required you to use that camera and hand off footage at the end of the day? ....
    I usually insist, to have at least a saying in CC, but if possible, I do it.
    Till now, I had only one job, where I had to hand over my footage, and I totally hated, what they did to my material.
    It was so bad, I told them to scratch my name from the end credits.
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  10. #30  
    Senior Member rick.lang's Avatar
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    Sadly, another credit to add to Alan Smithee's body of work.
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