{"id":190,"date":"2018-01-18T11:24:15","date_gmt":"2018-01-18T10:24:15","guid":{"rendered":"https:\/\/cinematography.net\/CineRant\/?p=190"},"modified":"2018-01-18T11:24:15","modified_gmt":"2018-01-18T10:24:15","slug":"high-iso-c200-eva-ursa-mp","status":"publish","type":"post","link":"https:\/\/cinematography.net\/CineRant\/2018\/01\/18\/high-iso-c200-eva-ursa-mp\/","title":{"rendered":"High ISO-C200-EVA-URSA-MP"},"content":{"rendered":"<p>In this test I set the C200 &amp; EVA to ISO 2500 and the Ursa mini pro to 1600 (its highest ISO)<\/p>\n<p>I then took the rushes into Resolve in ACES cct and adjusted offset and black level only to match them.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/251623016\" width=\"640\" height=\"480\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>It&#8217;s interesting how good both the EVA, noted for its high ISO capabilities, and the C200 are when pushed. Unfortunately the Ursa can&#8217;t keep up in this comparison.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this test I set the C200 &amp; EVA to ISO 2500 and the Ursa mini pro to 1600 (its highest ISO) I then took the rushes into Resolve in ACES cct and adjusted offset and black level only to match them. It&#8217;s interesting how good both the EVA, noted for its high ISO capabilities, &hellip; <a href=\"https:\/\/cinematography.net\/CineRant\/2018\/01\/18\/high-iso-c200-eva-ursa-mp\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;High ISO-C200-EVA-URSA-MP&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-190","post","type-post","status-publish","format-standard","hentry","category-cameras"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8PwMD-34","_links":{"self":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/190","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/comments?post=190"}],"version-history":[{"count":1,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/190\/revisions"}],"predecessor-version":[{"id":191,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/190\/revisions\/191"}],"wp:attachment":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/media?parent=190"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/categories?post=190"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/tags?post=190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}