The URSA Mini seems to get better and better with every update. The latest beta firmware (4.0) is the biggest leap forward yet, with one of its flagship features enabling users to load and export custom LUTs from the camera. Having just installed the firmware a few days ago, I decided to run some tests by creating custom LUTs that could be loaded onto the URSA Mini 4.6K for future use on set.
When I was trying to decide which custom LUTs would be most useful to load into the camera, I thought – Why not make a LUT designed to emulate the look of the Arri Alexa?
One of the reasons I like the URSA Mini 4.6K is that it looks a lot like Alexa. That said, this is a different camera, and there are some significant differences in color, contrast, and other visual parameters, as no two cameras look the same. With this in mind, my goal was to take an already cinematic image from the URSA Mini 4.6K and tweak it slightly to make it look more like native Alexa footage.
This requires a lot of work, which may be surprising considering that the results of applying a LUT are actually quite subtle.
Using DaVinci Resolve, a lot of Alexa footage (including lots of color charts), and more URSA Mini 4.6K footage, I was slowly but surely able to develop a LUT that I believe will give a closer look to the URSA Mini 4.6K film material Alexa.
While my LUT building process initially started by arranging color chart material shot on the Alexa and URSA Mini 4.6K and matching each color square individually, it quickly evolved from there. I later applied the initial version of the LUT to regular footage, making very minor adjustments to my eyes. In fact, the creation of this LUT was half science and half instinct.
The difference between my Alexa style LUT and the standard 4.6K to video LUT isn’t huge, and it shouldn’t be. As I mentioned above, 4.6K already has a very Alexa-like quality, so the difference between the two LUTs isn’t that huge.
Check out some examples below.
All images were shot in ProRes HQ film mode in 4.6K 2.4:1 aspect ratio.
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URSA MINI 4.6K Video LUT
URSA MINI 4.6K to Alexa LUT
The differences between the two LUTs are subtle, but still noticeable – especially in the rendering of green and magenta, as well as overall contrast. The two examples above have not yet been graded other than using a LUT, but below are two more examples of the same shot that have been lightly graded (using the exact same levels) to restore viewport detail.
URSA MINI 4.6K Video LUT – Grading
URSA MINI 4.6K to Alexa LUT – Grading
The great thing about this LUT is that it will look different depending on the scene you’re shooting, because there are a lot of small changes that go into creating the LUT. In other words, depending on the color palette of any given scene, the effect of the LUT may be more or less noticeable, since some 4.6K colors are inherently closer to Alexa than others.
Here are a few more examples.
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URSA MINI 4.6K Video LUT
URSA MINI 4.6K to Alexa LUT
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URSA MINI 4.6K Video LUT
URSA MINI 4.6K to Alexa LUT
You can download URSA to Alexa LUT by clicking here.
Firmware 4.0
I’ve only been shooting with the new firmware for a few days now, so I’m not going to write down my detailed thoughts on it just yet. But now, I can tell those who haven’t tried it yet that almost everything has changed in version 4.0 from a UI/design perspective, and for the better. At the same time, the simple design that Blackmagic is known for hasn’t been lost in the process, which is really nice to see.
Version 4.0 seems to have added countless new features, and I feel like I discover more every time I use the camera. There are too many new additions here to list, but here are some of my personal highlights:
- Beautifully designed new operating system
- heads up display
- Individual monitoring control of each SDI output
- Ability to load and export 3D LUTs
- Auto white balance
- Hue control
- Customizable focus peaking colors and settings
- 4.6K aspect ratio 2.4:1
- 3K anamorphic recording
- Customize camera settings defaults
The heads-up display may be the most useful new feature when shooting real-world projects. It’s essentially a menu overlaid on the LCD screen that allows for faster changes to basic settings like ISO or white balance. All of your settings and parameters are laid out on the top and bottom of your screen, and if you want to change something (let’s say the audio input levels), it’s as simple as tapping the audio meters and making an adjustment right there on your Screen. No need to use buttons on the camera body to enter menus.
For the most part, everything in version 4.0 seems to be designed to make the camera more capable and useful. I’ll be sure to post some more detailed feedback once I’m able to shoot some more substantial material with the camera using this new firmware. Now, I’d say if you’re a 4.6K user, it’s definitely worth trying – even if it’s still in beta mode.
As for the URSA 4.6K to Alexa LUT, I’ll probably create an updated version of it once I get a chance to shoot with the camera more frequently. So for anyone who does use the LUT, please send me some feedback so I can continue to refine it over time.
If you’re not a URSA Mini 4.6K user but are looking for a similar Alexa style LUT for your camera, be sure to leave a comment below and let me know. I may make more of these for different camera platforms in the future…
I’ve also recently released 6 cinematic LUT packs that are carefully designed to help you achieve an organic cinematic look in post-production. They work perfectly with almost any camera lens, and I highly recommend them to filmmakers and cinematographers looking to achieve bold color effects while minimizing post-production time. Be sure to check them out here!
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