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Policar

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  1. https://www.bhphotovideo.com/c/product/1321312-REG/sigma_100_400mm_f_5_6_3_dg_os.html $700 seems like a good deal. If it’s just one event just rent what fits the bill best.
  2. Apple already makes the world's most-used camera, the iPhone. I think it produces a great image for what it is, great color and the HDR mode rocks for stills. You still need a crew to use an Alexa properly (less so an Amira, which even does grading in-camera if you want) but it's definitely built for luddites and to fit into existing workflows, more like the G7 than the AF100 I suppose (having never used either). So I think these brand preferences boil down more to what approach you take than what offers what for the money.
  3. The Sennheiser sound signature is mid-centric, with rolled off highs and a slower impulse response resulting in the notorious "veil." I haven't used the HD800 (although I'm trying the HE-1 this weekend and will hopefully get to try it, too) but I expect it would be the only model you'd care for. Grados are much brighter, Stax as well.
  4. Yeah, I don't hear it. A friend had both the M50 (the old one) and the HD650 and the HD650 was in an entirely different league, vastly better in every conceivable category. But he was driving it with thousands of dollars of hardware (amp/DAC). I do find the Sennheisers polite/veiled. If you love detail and sparkle, they aren't for you. If comfort isn't an issue, the $20 monoprice headphones (monoprice 8323) sound about as good as the M50/7506/HD280. I hear the Samsons do, too.
  5. The Stax are very bass thin, however. Which is too bad. They're no Beats, which have thicker richer bass. But the detail is great. Imo they don't sound too good with modern recordings. The HD600 series does sound very veiled, but driven by a high impedance source it's not bad and actually sounds quite good imo. Very warm. Try it through 100+ ohm impedance outputs and you might change your mind. While I don't love the M50, I agree it's a great recommendation at the price point. Similar to the Sonys or HD280s but with better sound for listening. Yet still accurate enough for basic moni
  6. I apologize for any perceived attitude. I'm a camera enthusiast who still shoots as a hobby (I used to shoot tv professionally), but now that I'm working in post I get to work on some even higher end projects with the most cutting edge camera systems and lenses. And I wanted to share some of the latest news that I was incredibly excited about as well as my experiences with different camera systems. Every day I' working with Alexa footage with the highest end lenses or Varicam footage and with the highest end lenses, which is especially fun for me since I'd shot with almost every camera system
  7. Policar

    C500 shoot.

    Thanks for clearing that up, I was confused because I assumed it was light sensitive. I agree about the Q7 being clunk to work with even though it's very impressive in other ways. I always found the C500 through the Q7 to be extremely sharp at 4k, far sharper than the Epic or Alexa, but the color straight to prores seems odd to me and I've seen mosquito noise and aliasing that's a bit annoying. Never worked with the raw files, but it seems like a camera that's halfway there to me.
  8. Some of that is fair. But for those looking into a camera that will meet future HDR specs for YouTube and Netflix, etc. the C300 Mk II is the lowest end that has a good chance of being approved. That said, this site has never been about what standards others have approved, and instead about getting great results with what you have. For the money, the GH4 definitely offers a good image. The rest... take it or leave it. We all have different goals. (Mine isn't further consultant work, it's simply that I think Dolby's standard is superior.) I don't have a crystal ball but I do have access to
  9. Good for you. I have friends shooting and grading major features on Alexas and who are on the ACES board. And I recently worked as a consultant at Dolby for their new Dolby Vision workflows. I'm glad your made up HDR standard works for you and your friends with GH4s. Which can't deliver a full rec2020 image, unlike the C300 Mk II, but that's fine that you think it can. I'll let Technicolor know that they should throw out their research. It's true that there is no current standard beyond 10 bit and rec2020 (and 1000 nits target) for HDR10 because those are display standards and not acquisi
  10. The HDR acquisition spec among those developing next generation standards is 15 stops, though, and rec2020. Not 12 stops and rec709. I've used the GH4 and it simply doesn't have that much highlight latitude. I have friends at Dolby, Technicolor, Deluxe, CO3, etc. developing the next-gen HDR grading systems and they're all operating under the 15 stop spec. To reveal my sources more specifically would break NDA, but I know for a fact that Canon targeted 15 stops as it was considered baseline for HDR. To be fair, these labs are remastering content from film and cameras specc'ed at 14 stops
  11. Policar

    C500 shoot.

    That makes sense. But now that cameras sort of are their sensor, it does get muddy. I'm still curious what the OP meant.
  12. If that's what Dolby is saying, it's ridiculous. Step outside during a sunny day and you're exposing yourself to brightness far in excess of 10,000 nits all around you. Orders of magnitude brighter. Having seen 10,000 and 4000 side-by-side I can confirm that neither is fatiguing, even in indoor light, though you might choose to turn brightness down at night as you would with any display. And simply because a display can get that bright doesn't mean it will. It's like saying 8k is too sharp. It might be unnecessarily sharp, but you can always show a less sharp image. Only very small parts of th
  13. Policar

    C500 shoot.

    I got started shooting film and that was all I shot for a while. So when I shoot digital I'm still approaching it how I did when I shot 16mm. And when I shoot stills I'm approaching it how I did when I shot 120 and 4x5. So while I might expose a little differently for a digital camera, same as I'd expose differently for slide film and color negative, I'm always thinking about it that way. And for me (and I think most film guys) "speed" refers to ISO of the film or stop of the lens set. While you're clearly thinking about things in a more complex and advanced way than I am, you'll have to
  14. Policar

    C500 shoot.

    I thought speed referred to ISO sensitivity? Maybe I am stuck in the film days still... and maybe that's why I still think 850 ISO is fast. You might have to talk with Zeiss about renaming their super speeds... while I agree that you'll usually want to give your AC at least t2.8 I would rather have the speed when I need it with camera and lenses than have to rent a generator or do a tie in. And I see DPs opening up all the way even on major features to get the sensitivity needed; after all, the Alexa and Red (and film) are comparatively slow. What I don't see is anyone pushing them beyond
  15. Policar

    C500 shoot.

    Isn't 850 ISO (well, 500-1000 ISO) about standard for base ISO? I don't understand what you mean. Slow to work with? Or did you find the ISO inaccurate or are used to Sonys at base 2000?
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