Відео

You have to shoot raw with an external recorder to make this worth it.

I never use IS. Most always the camera is stabilized- tripod, dolly, steadicam gimbal etc. so I cannot answer about value of IS. The Sigma Art series offer decent value for optical quality. The newest lenses have aperture rings- with a switch to declick. I originally went Sigma Art to match a client’s set of lenses. So there are a number of reasons to go in one direction or another.

It's where the manufacturer wants to "place" their exposure sweet spot- to protect the highlights or to stay away from noisy floors. Fortunately cameras have gotten a ton better since the BMPCC 4K was released.

I now shoot with an F55 but I still have and use my F700R. It needs SDI connection to get the 12 bit RAW from the Atomos. I wouldn’t hesitate to use this camera for narrative work or even docs. Fantastic image.

@@kamikaze1213 thanks for your answer. I've bought one for 950€ in excellent condition with all the accesories and even the original box. I will use it for stuff where a dslr will not be convenient and for some B camera on my work, I think it will do the job and I'm happy to finally have a real camera (having XLR and ND is so nice) But yes I will have to upgrade for the ninja v+ at least or find some shogun second hand.

@@monsterandmaster congrats! I promise you’ll love it. The frame rates alone make this camera so amazing.

@@kamikaze1213 😃

Haven't used a 7DM2, at least not recently- can't comment on autofocus. Same goes for 10-18mm unfortunately.

I have not. I have the original Spotlight made for the LS300Dii. It's a lot smaller/lighter

Yes. Morir Sonando. I was dp.

Two completely different cameras, and purposes. The FS700R is a super35 size sensored camera, with interchangeable lenses while the AX 700 is a small 1" sensored, all in one camcorder. The FS700R is like an old fashion, full manual camera, the AX 700 is made for full automatic run and gun. The FS700R favors a crew, the AX 700 is great for solo operating. The look is completely different. Is the FS700R better? No, just completely different. All depends on what you need.

@@cinemak1759 ahh ok awesome info thanks 👍

Dude I'm second generation American. But heritage is from Korea.

I would call this a 1 ton. For comparison I sometimes look at rental companies’ sites and see what they are listing in 1, 3, and 5 ton kits- especially back when I jad grip trucks.

It would be a decent camera because the FS700R is a pretty basic camera. Think of it as a full manual video camera- that's always good to learn with. The fact that it records on SD cards is helpful, though you will be limited to 1080P if I remember correctly. A step up would be the FS5, FS5 Mk2, then the FX3 or FX6. The FS7, FS7Mk2 and FX9 record to XQD cards, which is sort of a dead end- card wise. In other words, a pricey dead end card format.

@@cinemak1759 Thank you very much for your reply. I was able to get a Atomos Shogun Inferno 4K 60p only used 3 times for 500€ today. I saw in another video that i can record up to 4k 60fps with the combination of the recorder and a FS700R

The 2x3 and 4x4 sleeves were just white coraplast I bought at Home Depot. 4x8 pieces. I just bent them on a bench and cut slots for straps. I have since gone back to a Sprinter and built all new van sized carts. I'll do a video on that this summer.

I don't have my hands on that lens anymore, but I don't belive it has hard stops as virtually all the newer auto focus lenses do not.

@@cinemak1759 ah I see. Dang. I figured since this was a manual focus lens it’d have hard stops

Wait, hold on. Yes, this lens has manual hard stops. I was confused- last Samyang lens set I used was the autofocus series II, which looks kinda like the XP series! BTW Samyang's website says they have 20% off on manual focus lenses, including the XP series. samyangus.com/pages/spring-manual-focus-sale

@@cinemak1759 perfect! That’s great for video work. There isn’t much on these lenses, so I appreciate the video. I know it was from 2 years ago haha so I get it.

I will be making more videos, there's a ton of new products out there worth testing, but sort of shifting gears too. Planning on a bunch of mini movie reviews "movies worth watching." cause people ask me for movie recommendations. Was going to do a website, but my son convinced me to just put them out on UA-cam- so they'll be a part of this channel later this year. Will throw in some technical tidbits when appropriate. As for the other stuff- sooo many new lenses to look at, plus lights and camera support.

@@photographyRI Glad you liked the working stiff angle! still working as a freelance dp. I check in on "gaffer and gear" for lighting reviews, he has practical opinions. Between jobs I sometimes think about videos like "cheap gear that works" besides basic gear reviews. But all this takes time and I haven't had free time the past year and a half. I am however very curious about some of these new lenses hitting the market now.

​@@cinemak1759 Not to add pressure, but I am definitely hoping you return to releasing videos! Your work is incredibly enjoyable, personally some of my favorite in the youtube filmmaker space. All due respect for your schedule and life outside of youtube, but that said I am definitely looking forward to if/when you return. Thank you for what you've done, and if you're seeing this around when I comment, happy holidays!!

@@jeremymolinari6597 Thanks for the many kind words Jeremy. The timing of your note is oddly fortuitous. Next week I'm posting a new video- on Aputure's new ellipsoid lens- the Spotlight Max. It won't be a hard technical review- more of a splattering of footage and bts talk of using leko units on everyday shoots- how they solve problems quickly. Please keep an eye out for it!

Art supply stores usually sell individual sheets of foamcore. Film/TV/theater supply houses if you live in a larger metro area. Online shops like Uline may also sell foamcore.

@@cinemak1759 Thank you very much!

Ultimately you know your needs best. If you get paid to shoot videos, are your clients demanding newer cameras? (for example, they always rent something like the FX9 instead of using FS700R.) If you are creating your own content, as long as you like the image no real reason to update camera, other you simply desire to. To answer the question, yes, I much prefer using the FX9 over the RS700R as it is easier to use day in and day out, and I do prefer the image of the FX9 for many different reasons. Having said that, you can create great images with your combination. Professionally speaking, in my opinion lighting is one of the great differences between a new, inexperienced dp and someone with experience and a sensitive eye to lighting (a number of professional dp's are not particularly sensitive to lighting- they copy what is current. If you have good people skills you can have a successful career doing this.) If you do not have a lot of lights, and if you have to light sets, then yes, money is better spent on lighting and grip. If you want to focus on camera, then accessories like a very good tripod, maybe gimbal/slider etc will give you the tools to get the shots clients, or you, want to create. My only advice is to decide in advance how far you want to go with gear ownership. For example, maybe you only want enough gear to fit the car or van you use. Think carefully, package carefully what to buy and how to organize. As the shoots get bigger, the budgets get bigger, you will work with crews and used rented gear, both cameras and lighting. Another way to think of it is, get the minimum amount of gear necessary and shoot the crap out of it. If you goal is to be a rental operation, then you simply need to own the gear people want to rent in your market. If your goal is content creation, then focus on the content and the gear will more or less work out. For example, I own the FX9 and A7IV. I am a full time freelance dp. I am about to start making more content videos (not related to filmmaking) and I know I'll use the a7IV much more than the FX9 when working alone. Hope that helps. Happy shooting!

Hi, sorry, but no plans for another Zcam S6 test.

@@cinemak1759 Okay,thanks for reply and any other camera test.....?

No tests planned at the moment. 2022 has been a very busy production year- no time. I'm currently an owner/operator of the FX9, as several clients and broadcasters use the FX9, so it fits into their workflow when needed. No plans to review the FX9, as it's getting old(er), but not old enough to be affordable and interesting!

@@cinemak1759Gooood! Okay no problem,thank you so much!!

Narrative? That opens the floodgate for choices and depends on everything. I have not used the EOR R nor Z6. I would likely choose to shoot full frame. Max aperture desired? Primes or zooms? Manual or auto focus? Spherical or anamorphic? Once some of the basic decisions are made then I would think about the tone and look you need to generate, which would dictate which series of lenses to choose/test. IE tack sharp and contrast or flares and “rounded” focus, (gentle focus falloff). It starts with the script for me. Decide on a look or tone. Work within the budget. Those three items narrow the choices immediately. If nothing else there are now so many choices at all budget levels.

@@cinemak1759 Thanks much for the reply. :)

BTW - I asked that because you mentioned it in your piece here, that you wouldn’t use this lens for “narrative” work, and I just wondered what lens you would use for that kind of work, and I’d love to see what that work would look like so I could get some context. It’s a new term for me.

For narrative work I steer towards prime lenses, and to be honest, we usually rent lenses- Cooke S4 typically first choice if budget allows. The amount of breathing this lens exhibits can be a distraction, but many anamorphic lenses used these days also breath a ton. I haven't shot a movie in a few years now- haven't tested all the new lenses available. But often we don't go for the sharpest lenses- again, everything depends on the tone you are looking for. having said that, I'd be interesting in testing a set of DZOFilm Vespid primes- some of the new coatings they've just released in 2022, for a narrative film.

@@cinemak1759 Gotcha. Really appreciate your feedback here - helps a lot!

I haven't used this lens, but on paper the Fuji 50-140/2.8 looks a closer look. As always, run tests- try before you buy, to see if the lens works for you. As distracting as the focus breathing can be on the Sigma 50-100, at the end of the day I didn't do a lot of big focus pulls. Next question-would your clients really notice breathing and be distracted by it?

From what I remember the DZO Vespids' build quality was better. Optically similar, though the Meike may have had better flare control. Meike has also filled out their lineup nicely since I did that review, so definitely a contender.

Personally I find the term "cinematic" to be a vague catch-all phrase, mostly used by those who have not made narrative movies- after all that is what is implied. For example, I just shot a video, and an agency was our client. and the agency producer wanted things "cinematic" with a lot of color- the RGBWW tubes played a lot on that shoot. If you ask me, that wasn't cinematic at all- maybe cheesy music video would be a better description. But they're the client and we do what we're asked. And yes, lighting, location, art direction etc may impact a greater "cinematic" look over lenses. Having said that, if you shoot with a Cooke S4, or better yet, a Cooke S2 then immediately shoot the same shot with a modern, just released, super sharp stills lens- you will see a difference, and it will be up to you to decide which lens you prefer, which look you prefer- or more importantly, which look is better for the project you intend to use the lens on. Perhaps a better description of a lens is "vintage" and "modern- clean" instead of cinematic. And we are not talking value, as many "cinema" primes cost $20K per lens and more. And don't forget, many dp's get the latest, greatest hyper expensive cinema lens and keep a 1/8 Black Pro Mist filter on most of the time. Having said all that, some lenses will generate a visceral reaction- either good or bad. You can try to dissect it, but the reaction is immediate, as soon as you mount the lens and look at the monitor/viewfinder. You may qualify the "good" reaction as "cinematic." Or you can just say "Ooo, I like that." So- lenses do impact the look- however subtle, or great the impact may be. On focus breathing- most of the time it doesn't bother me- some people throw hissy fits when it happens. But this lens does exhibit a ton of focus breathing for a modern lens. This is a stills lens- it wasn't designed to limit focus breathing.

This of course is one reason why we use expensive (like $20K per lens) cinema lenses when there is a budget. The breathing distracted you, pulled you away from the story. Most people won't notice consciously, but "something" may bother them. And of course, this can also be intential at times.

@@cinemak1759 There's a scene early on where it's really obvious. Charlie and Gadi sit outside and she invites him to sit at her table. The focus pulls from him to her and it brings in more of the surroundings.

@@bitspacemusic I'm not familiar with the movie/piece. I will mention this- in the feature "A Quiet Place" in the beginning when the family is walking back from town, they are crossing a bridge. When Emily Blunt hears her son make noise, she spins and there's a huge rack focus. Old anamorphic lens, with the distinctive breathing characteristics. That focus pull jarred me, pulled me right out of the movie, with me thinking "That was super annoying. Not a nice move." To me that's a problem. I watch movies to simply watch movies, not deconstruct them, and that focul pull wrenched me out of the film. Something to consider when chosing glass for your projects- when you have a choice tht is. Often we don't get much of a choice.

Thanks but that setup is super simple. Basic frontal soft key- a little fill from below. Sort of corrective lighting for us older folk- helps hide the wrinkles.

@@cinemak1759 Also what focal length are you using here in the talking head? Everything looks great.

@@xx-ip7ej 50mm. I think I used a Canon 5DM2, Samyang CineDS. The cheap stuff can look pretty good within limits.

What do you think about the Meike vs the DZO Vespid Primes in terms of image quality?