In terms of latitude and color science,everyone can be fooled as it is an alexa. I think Ursa 4.6K is a big leap for closing the gap between high end cinema cameras. I’d love any feedback too if you’re finding the files fast to download or not. In any case please do enjoy these camera original files hosted by my friends at Digital Pigeon. It may well be that the TRUE NDs are letting in some IR that the UM4.6K is seeing, but I’d have to test further for that and haven’t had a chance to. I have to admit a lot of the other shooting I’ve been doing for Blackmagic I’ve been using the firecrest ND’s and haven’t seen this problem before. I used a mitomo True ND6 here and these filters have been very reliable for me on other cameras. This can be easily corrected but it’s unexpected. The only thing I’ve noticed now that I’ve had some time with these files is that there appears to be a small amount of IR contamination in the blacks around Maddy’s shirt and the fabric on the table on the UM4.6K. I think the UM4.6K stacks up very well against an Alexa shooting RAW, but I’d love to hear if you think it does. You can work out how many stops over and under from the Fc readings here. I designed this scenario to show some contrast and I’ve also added a brightness ramp on the back wall. This was shot using Cooke S4’s and both cameras were exposed for ISO 800. I set up a 3200K balanced lighting setup and then also able to shoot the Ursa Mini 4.6K in RAW and then shot the same again with Arri RAW on an Alexa XT. I had a chance while shooting some tests recently of the new Olympus firmware upgrade to the Olympus E-M5 Mark II to shoot some tests in a studio under controlled conditions.
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