With the recent shipping news on the much anticipated Ursa Mini 4.6K camera, I wanted to give people a chance to download and grade some more files. I have a few other more “test” style shots coming, but for now I’m keeping it fun.
I spent a couple of hours wandering around the Santa Monica Pier at sunset and this is a selection of shots I managed to get.
I shot Ursa Mini 4.6K PL and no ND. These are RAW 4:1. I had the Angenieux 16-42 and the 80-200 TLS which is a rehoused Nikon lens. Both are T2.8 lenses.
Because they’re compressed RAW, only the CURRENT version of Resolve will open these files. It’s a free download.
Also, I want to acknowledge my good friends Digital Pigeon for hosting these very large files. They are hosting these for me for nix so please pay them a visit in return and consider their specialised high volume super fast file sharing options.
They put all the others to shame and I know from personal experience these guys are the best.
And so the files.
I was going to cut a little piece together, but I figure it’s just best if you get to try them for yourself. I’ve got some little preview shots but best you download to see what they’re really capable of.
I’ve tried to include the darker evening and mixed lighting shots. Normally a challenge for any camera.
If you grade and share these files online, please remember to acknowledge the source. I’d love to see you post your grades back here in the comments too.
johnbrawley 
I think the footage looks amazing, specially once graded in resolve. I think even slightly better than a dragon. How would you compare it to an Alexa? Here is one shot I graded
http://postimg.org/image/dztcw3831/
Using Resolve’s RCM workflow is really amazing since you never have to worry about the raw tab artificially clipping highlights. I mapped the raw to rec 709 2.4 gamma
Hi greg, I love your grade ! It looks great, better than mine. Can you run through why you use the RCM that way ? (for those that don’t know about it )
jb
So historically if you have raw footage you would adjust it in the raw tab, the raw tab would hand off the adjusted footage as non raw footage to resolve to use in the main grading panels. So say the first few frames are dark so you lighten them up however halfway through the clip there is a brighter portion that then becomes clipped since you raised the exposure. You can not bring that clipped area back in the main primaries panel. Resolve handed the footage off in a lossy manner. However in the new RCM (Resolve Color Managed) colorspace, Resolve maps all the raw data from CDNG, or R3D etc to what ever timeline and output color space ( like rec709 2.4 gamma) you want preserving all the data.
The timeline color space determines how the panels behave. Mapping an R3D to LogC timeline would make the knobs behave totally different than mapping to Rec709. The output color space is meant to be your deliverable color space and it can be changed for different output formats and your adjustments will be mapped accordingly. So you can output to rec709 then change to ZYX for DCP and resolve will do the math to map it between the 2 color spaces.
The input color space only affects non raw footage but you can use it to map say rec709 canon footage to log c. Checkout mixing light for more details
https://mixinglight.com/portfolio/davinci-resolve-12-first-look-resolve-color-management/
https://mixinglight.com/portfolio/resolve-color-management-raw-footage/
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Thanks for these John look great.
Any chance you might have some prores samples too? 1080p etc
Regards
Jon
Yes I have some more coming shortly.
JB
Amazing footage and great resource, thanks to you and Digital Pigeon
You have nailed shots on sunset like in the original BMC demo video. They look really lovely!
Thanks for these John. I fooled around with the wise shot of the pier and made an other worldy look, with faces illuminated and sunset in the BG, a kind of natural HDR look. Wow.
https://drive.google.com/open?id=0ByCkZ_iRaK0_U3Fxc1hORmtZcUk
Hello John,
Have you noticed any visual difference or grading capability (e.g. can Lossless RAW be pushed further than 4:1) in the different RAW recording formats? I have found one online poster who claims a noticeable change in “grain structure” when switching between lossless and 3:1 / 4:1. I guess this comes down to whether the visually lossless compression really is so?
Hello Miles.
I can’t say that I have actually, but the only time I’d imagine you would VISUALLY see a difference in compression would be in darker / night scenes and with wider shots with lot’s of detail that push the compression hard. Personally, I’ve never seen a difference but it might well be there in some scenes. Visually lossless actually can usually be much higher before you start to “see” the differences, whereas you’re more likely to see compression differences in post once you start trying to grade and work the files. JB
Thanks John.
Great points – worth it to run a few tests on the type of shots you described when I have the chance to do so.
Its amazing how much you have to bring down the highlights to make them show on a conventional 6 stop DR LCD. Can’t wait for HDR
Any chance of a reup?
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Will you potentially re-up the footage?