I've been in video production for over 40 years, and I found your video much more informative than other videos that I have seen on the same subject. I particularly liked your comments toward the end where you pointed out, in a nice way, that for a beginner acquiring skill is much more important than acquiring high end equipment that they lack the skill to to fully take advantage of what it can do.
Isn't that always the case. I see that all the time in audio recording. However, I have always believed that buying up classic vintage mics when engineers needed money was a great long-term investment. I guess I started doing that in the 1970s.
You can learn the skill with whatever you want, if you dont have money, you can actually learn it on unreal engine, but when you make a work for your portfolio, you rent the best possible lenses. I am not joking, its as important as dressing well for an interview. There is so much competition out there unlike old days. Everyone has an apple laptop and an Iphone. Lens and lighting is your only way to standout. 40% sound 60% visuals, Moving images is your bread and butter basically, how well lit these images are decides who sees them. Your writer will do his job with his pen, your actor will do his job with his face, as a camera man, you cant show people how you are handling the gear. Its your lens and lighting!
Consider the reason there's a profession of announcers/voice over/broadcaster exists. Not everyone has a commercial voice. In fact, most people do not.
cine lenses are a disadvantage if you're a solo videographer / filmmaker, they don't have the smart features that allow for in-lens stabilization and autofocus cine lenses require you to have a team, if you don't have a team, you actually have a major disadvantage over smart lenses. (also with the modern smart lenses, the image quality is getting on-par of the cine lenses, but so is their price).
That has traditionally be true, but its changing more and more with every advancement in technology. That's why new video cameras now have very precise and fast autofocus. Something in the not so distant past was a specific job (and still is) given to one individual (focus puller) on a film crew.
@@jmoss99 well it does if you look more into it but my wording might have been a bit off. F Stop = Focal Length divided by Aperture Diameter T Stop = Amount of Light that actually reaches the sensor for example: Canon 50mm f/1.8 = t/1.9 Sony 50mm f/1.8 = t/2.1 this happens because the lenses don't have equal light transmittance
I see, but that is minor. I was talking to someone who was saying that in cinematography lenses max out at f2 and they are called "normal speeds". The point was that photography and cinematography had very different systems. I said that in photography f2.8 was fast and f1.2 was about as fast a lens that most can afford. So there is something going on here.
@@jmoss99 how is that minor, that is literally the question i answered... 1. Cine lenses dont max out at f2, they go down to T1 which will equal an even lower f number 2. why would you want anything faster than that when doing video? so why even bother creating a lens like that
Keep in mind students, vintage lenses are mostly made of metal. Some make films with smart phones! Yikes! I shot video for 10 years with a Sony PD150 and never used anything in automatic mode. You just have to be in a pretty stable environment. Cine lenses are something alright, but skill will keep you in the game. When did Cine lenses hit the scene anyway? Did Hitchcock use them? Were they what they are today?
I've been in video production for over 40 years, and I found your video much more informative than other videos that I have seen on the same subject. I particularly liked your comments toward the end where you pointed out, in a nice way, that for a beginner acquiring skill is much more important than acquiring high end equipment that they lack the skill to to fully take advantage of what it can do.
Isn't that always the case. I see that all the time in audio recording. However, I have always believed that buying up classic vintage mics when engineers needed money was a great long-term investment. I guess I started doing that in the 1970s.
par*focal* lenses keep the FOCUS on the same subject while zooming in and out, not keeping them centred...
You can learn the skill with whatever you want, if you dont have money, you can actually learn it on unreal engine, but when you make a work for your portfolio, you rent the best possible lenses. I am not joking, its as important as dressing well for an interview. There is so much competition out there unlike old days. Everyone has an apple laptop and an Iphone. Lens and lighting is your only way to standout. 40% sound 60% visuals, Moving images is your bread and butter basically, how well lit these images are decides who sees them. Your writer will do his job with his pen, your actor will do his job with his face, as a camera man, you cant show people how you are handling the gear. Its your lens and lighting!
Why does this channels narrator sound so artificial? Looking through the videos, it sounds like they are just a clickfarm.
Consider the reason there's a profession of announcers/voice over/broadcaster exists. Not everyone has a commercial voice. In fact, most people do not.
Great video. Answered all my questions. Thx!
cine lenses are a disadvantage if you're a solo videographer / filmmaker, they don't have the smart features that allow for in-lens stabilization and autofocus
cine lenses require you to have a team, if you don't have a team, you actually have a major disadvantage over smart lenses. (also with the modern smart lenses, the image quality is getting on-par of the cine lenses, but so is their price).
thanks for sharing
That has traditionally be true, but its changing more and more with every advancement in technology. That's why new video cameras now have very precise and fast autofocus. Something in the not so distant past was a specific job (and still is) given to one individual (focus puller) on a film crew.
Super helpful. Thank you!!
Why are the speed ratings for cine lenses different from photo lenses?
Photo Lens: Calculated Aperture
Cine Lens: Real World Aperture
That doesn't make any sense.
@@jmoss99 well it does if you look more into it but my wording might have been a bit off.
F Stop = Focal Length divided by Aperture Diameter
T Stop = Amount of Light that actually reaches the sensor
for example:
Canon 50mm f/1.8 = t/1.9
Sony 50mm f/1.8 = t/2.1
this happens because the lenses don't have equal light transmittance
I see, but that is minor. I was talking to someone who was saying that in cinematography lenses max out at f2 and they are called "normal speeds". The point was that photography and cinematography had very different systems. I said that in photography f2.8 was fast and f1.2 was about as fast a lens that most can afford. So there is something going on here.
@@jmoss99 how is that minor, that is literally the question i answered...
1. Cine lenses dont max out at f2, they go down to T1 which will equal an even lower f number
2. why would you want anything faster than that when doing video? so why even bother creating a lens like that
Keep in mind students, vintage lenses are mostly made of metal. Some make films with smart phones! Yikes! I shot video for 10 years with a Sony PD150 and never used anything in automatic mode. You just have to be in a pretty stable environment. Cine lenses are something alright, but skill will keep you in the game. When did Cine lenses hit the scene anyway? Did Hitchcock use them? Were they what they are today?
well said
sinay?
Your voice is sooo zezty 💅💅
lol thanks
Thank you for this vidéo ❤❤
welcome 😁
no
Most things are just wrong
Absolutely unnecessary
What?
Only when you don't know enough to know what you don't know. Next time, ask a question. That way you might leave smarter than when you arrived.