URSA / Production 4k ---> Arri - Lut or Powergrade?

Does anyone know of a Power grade or Lut for the Production 4K to match it to Arri Log C?
I want use it to match my Production 4K camera to my Blackmagic Pocket 6K.

Thanks.

Not sure what your plan is but Arri Log C is not a look, it's just a log formula. If you want to have an easy time matching two cameras it's best to use a color managed workflow like Resolve Color Managed or ACES so your output rendering intent is uniform.

As an alternative, have a look at CineMatch.

Nothing, not even Cinematch (despite the marketing claims), will automatically make two cameras look the same.

Best you can do is to adapt the OETF + color space of one camera to the OETF + color space of the other camera, and then manually adjust the image from there in linear (and, of course, shooting color charts will help with that manual adjustment) . Or move both cameras source OETF + gamut to the same intermediate color space (by using ACES or RCM), but even then you'll still have some work to do to match the temp/tint and the exposure in the intermediate working space under the ODT.

If you want to do the former and adapt the OETF + color space of the 4K Production camera into the OETF + color space of ARRI, this screenshot shows how to setup the color space transfdorm (assuming you shot in BMD Film mode). From there you will need to manually match the temp/tint and the exposure of both cameras and can then apply the same transform from ARRI LogC AWG to BT.1886 (or whatever other reference display standard in which you're viewing the image).

CleanShot 2021-10-11 at 19.29.03@2x.png (102.5 KiB) Viewed 1382 times

If your goal is to match the two BMD cameras, the easiest way is to use Resolve Color Management in Resolve v17. Just make sure to tag the input color space for the 4K Production Camera correctly. If you need to check the color space and "gamma" setting for BMD camera clips that info can be found in the metadata panel of the Media Page (and, by the way, BMD unfortunately persists in using the incorrect label "gamma" in Resolve for what are more correctly called OETF and EOTF — Opto-Electronic Transfer Function and Electro-Optical Transfer Function).
BRAW files will always be tagged correctly by default in RCM.

If you've never used RCM, this excellent training title by Alexis Van Hurkman explains in detail exactly how it works and how to use it.
https://www.rippletraining.com/products/davinci-resolve/color-management-in-davinci-resolve-17/

Nothing, not even Cinematch (despite the marketing claims), will automatically make two cameras look the same.

True. But CineMatch can be helpful to get close. I was actually surprised, I didn't expect much.

True. But CineMatch can be helpful to get close. I was actually surprised, I didn't expect much.

Yes, I agree. It’s good for those trying to match in NLEs with limited color control (like Premiere) and it does support many of the little hybrid photo/video cameras with random source settings that Sony + Canon call “picture profiles”.
For the OP who is using BMD cameras, I think RCM in Resolve will be the better way to go.

Agreed again.
I was just not so sure what the TO needs, since he wanted to convert two BM cameras to Arri-Log.
Maybe to pass it on? Anyway, CineMatch could do that.
But if all three cameras are coming into DR, a color-managed workflow is the better solution.

I ended up using the Free Trial version of Cinematch and was able to get what I wanted. It worked better than I expected. I was originally using Juan's Pocket 6k to Alexa Powergrade / LUT and I wanted to match my Production 4K camera to that, as I used it as my B camera.