Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by Policar

  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?
  16. I've never seen stops as a measurement for a tv's contrast ratio (if that's what you mean by dynamic range, the misnomer is confusing me?), but it's trivially easy to convert between contrast ratio (X:1) and stops. Fwiw, LCDs have had greater than eight stops of contrast for many, many years. For reference, nice prints on paper can have at most 4-5 stops of contrast, which is part of the reason high contrast film was popular for print (slide film) but insufficient for for digital distribution. To convert for a tv, take the log base 2 of the contrast ratio you'll have your contrast ratio in sto
  17. Interesting to see an informed, centrist response about something that matters on a website full of brand evangelizing about something that... ultimately doesn't. Better than it being the other way around.
  18. The specs I'm hearing are 15 stops DR, rec2020. For acquisition. Then 10 bit 4000 nit wide gamut for the panel itself. Obviously not many current systems meet these specs and there are many, many competing standards. After all, 1024X720 was once "HD." The result is breathtaking, though. Especially on the 10,000+ nit display. Only one other tech demo impressed me as much this year and it felt less mature. What's cool is you'll be able to see colors you've never seen before.
  19. I agree! I still have my ST60 Panasonic plasma even though it's old tech by now. I do think the state of the art OLED sets are better but my eyes aren't good enough to need 4k at normal viewing distances anyway, though most people I know are getting 4k displays now. The dithering on plasmas makes them a little soft to begin with, but the ST60 is fine. I saw HDR demoed on a smaller 1080p screen after seeing state of the art 4k projection and there's no comparison. I actually don't think 4k looks any better unless you walk right up to the screen or it's projected on a huge screen. I'm begin
  20. HDR is not tone mapping for video. It's video created for displays with much much greater brightness and contrast ratios than you've ever seen. If you don't have an HDR display what you're watching is irrelevant. It's either SDR or a weird flat image. If you're curious go to a trade show.
  21. The camera spec I believe is 15 stops, but I saw film and F65 footage that looked fine as HDR. That's similar to asking why an HD screen is required to view HD when you can downscale to SD. Truth is, tone mapping only goes so far. With HDR, it's the difference between listening to a very compressed (dynamic range compressed while mastering, not MP3 compressed but that too) track on your iPhone with bad headphones vs being at the concert live. It's the difference between a cheesy tone mapped image and being there. It's really incredible and difficult to describe because no screens exist no
  22. I've seen demos of cutting edge HDR displays. Unfortunately, a small screen screen consumes nearly as much power as a small house (due to the need for a bank of air conditioners behind the unit) to cool it. But the image is unbelievable. Much bigger jump from HDTV to HDR than from 1080p to 4k. As big as SD to HD, easily. The high end first-gen sets are likely very impressive so it's good to see YouTube pushing the technology. It does seem immature. The ecosystem is very immature. But HDR is mind-blowing.
  23. DJI focus is very cheap. Above that it does get expensive.
  24. I actually had this happen. I made a short that was narrowly rejected from a very high profile because the voice was too strong and one of the programmers was afraid it was too weird for their brand. Every lower tier festival rejected it outright because it was way too weird for them. Very discouraging, but I was at fault for not knowing the community I was applying to be part of. You should just do what you want and enjoy yourself. You will probably have fun at the local festival, which is more than I've ever gotten into! If not, don't apply to it next time. Lesson learned. Easy. Find pe
  25. Yeah, I agree with the above. But the post above that, which rates dSLRs above the CX00 for video quality is totally absurd. The CX00 is leagues ahead. And I've tried everything and worked with and for the biggest post houses there are using everything there is. No, you won't get an Alexa with any cheaper camera. But if you're good and careful you'll get everything you need to intercut with an Alexa with the C300 or C100 even. And nothing else will do that. Comparing an A7S with a C300 and putting the A7S first is so absurd it's almost more sad than absurd. That said, the A7S is a brilli
  • Create New...