Proper exposure on URSA Mini 4.6K

Thanks Jason, Rick and Darko for your thoughts, it’s given me much to think in about how I go forward.

I struggle with False Colour due to my colour blindness, and don’t have scopes on my Ursa Mini 4K.

I do have a Sekonic 478-D meter and exposure target II.

I took 5 Raw exposures with my Ursa.
I put them into Resolve and output sRGB 8bit tiffs
I also put them in Lightroom and output sRGB 8 bit Tiffs.

The trouble is the opening both versions in photoshop gave me 2 quite different mid grey readings and putting them both though the Sekonic DTS gave me 10.7 Stop (Lightroom images) but only 7.8 Stop (Resolve images) for my URSA mini.

This obviously doesn’t fill me with confidence in my Light meter readings using these images.

Does anyone have suggestions, am I doing something wrong? Should I be shooting raw? Which program is best for turning my raw files into tiffs or JPEG’s

Chris

Make sure your Sekonic is calibrated to your camera’s sensor. There are videos on YT that can explain that.

Also, at the end of the day — and I have no idea what you’re shooting or intend to shoot — you need to realize that sometimes the shot that wasn’t technically perfect is the one that worked emotionally so you wind up using it even if the actor is a tad soft or he stepped out of his key light or the camera zigged when it should have zagged. All you’re really doing is serving the needs of the story.

I’m talking about narrative works as I’ve already stated I use zebras on stuff I have little to no control over (as a videographer). But, as a cinematographer, sometimes you just don’t have the time, money, or manpower to get what you really really want. All this technical talk is fine but if you’re just getting boring, flat, uninteresting, emotionless, but technically super shots, then you’re not really a cinematographer. You’re an engineer.

I am not an engineer. I know enough to be a dangerous technician but I am more inclined to work toward the drama of the shot than the technical amazingness of the shot. In fact, if my footage is too pretty, I get antsy. I don’t want the audience to say “that was a great shot” too much the first time they see my work because it throws them out of the experience.

People get tied up to the little things way too much and it’s like they’re trying to be Stanley Kubrick and, you know what? You’re not. Nor do you have Kubrick’s budget to do 87 takes of one shot. Getting to know your tools is another thing.

Yes, you need to learn your camera and how it works with lenses and lighting. But the best way to do that is go shoot something. Go shoot a short film or a music video for free over a weekend and learn your tool by live fire exercise.

Just remember that the ETTR vs legit cinematographer technique discussion is an old one, and a great platform for debate, but what it all really comes down to is ‘did the shot work dramatically?’. Was it appropriate to the story? Yeah? Then who cares if it was a touch underexposed? You can care as the cinematographer, but then do better next time. Live, work, learn, keep going. But first, learn your tools. Shoot in raw not as a crutch but as a legit storytelling device.

And stop working in 8 bit.

Hi Jason

I only created 8 bit files as that is what the Sekonic DTS software takes. Sekonic themselves told me that their software only accepts 8 Bit files in jpeg or tiff formats.

I was trying to understand the Raw to DTS workflow, like yourself Sekonic said look at videos, but they are all DSLR related shooting jpegs.

I understand that being too technical and scientific does not create great work, but cameras are scientific machines and I am trying to understand mine.

Like the rules of thirds, once you learn it, then you can choose to break it.

I was kidding about the 8 bit.

Yes, learn your scientific machine.

Jason, we are both on the same page on this. I also prefer using a waveform to get skin tones or use zebra, this is how I learned for shooting TV productions. Angel Adam’s Zonevsystem also works for wide dynamic range outdoor shots.
Cheers

Jason

If you can’t handle a simple conversation, there is no reason to be an Arse about it.

Chris

The sensor itself records linear light, and the camera encodes it as log, which does include a form of highlight compression. It's how the camera provides 15 stops of dynamic range in a 12-bit payload without banding problems.

Rakesh, thank you for responding. Can you elaborate on what form of highlight compression this is?

If you can’t handle a simple conversation, there is no reason to be an Arse about it.

What a shame you can’t handle a pithy response. Good day to you.

Hi

Does anyone know the correct workflow to get raw exposures from a Mini Ursa to a 8 bit jpeg to create an accurate profile in the Sekonic DTS software to calibrate a Sekonic Digital Light Meter?

Thanks
Chris