Cheers Jon! Yeh would definitely recommend renting one and shooting a test project on it, its definately capable of some good results. Coming from an FX6 you'll love the different dual ISO setting.. a lot of potential for pushing more detail into highlights or shadows by playing around with those settings, and the XOCN is super nice to work with. Let me know if you give it a a spin!
Thanks for sharing the industry expectations! Good to keep in mind when you see influencers promoting the latest and greatest that we can't do without!
Skip this and go with FX9 if you want that heavier pro-feel body with an amazing image from the sensor. We compared Burano to FX9 and not a single soul could see the difference. Also Burano’s NDs are unusable due to IR pollution.
How does it compare with FX3? The problem I feel with the FX3 without the ProRes (which I didn't try, but should) is that the colors in video looks washed out, and I don't feel very good about the image. The photos actually look fantastic, so I think it's the compression (the photos I see are Raw and Jpeg extra fine, which is much less compressed than XAVC)
@@adambobroy1958 FX9 is a different tool and beast. While the images might be comparable FX9 has so many more features built in like proper XLR ports, ND filters, actual buttons for different functions and many more ports.
some nice pictures in the Buruno - yes the ABC and "TV" isn't even 4K not even progressive they mostly want interlace some can use p then it gets converted to i - so the 8K/6K/4k is a myth as they don't want to deal with the storage space on most ABC internal docos. They use the canon a lot on 4C some FS7 floating around, even that is an overkill for 1080i. If you are shooting and delivering the final product it isn't such and issue, but ABC themselves have data storage issues. Very practical summation you have. not many will reveal that - once you dig into what they actually need its a matter of how you feel in the at the final grade. You bring up a great issue that people hand around that Netflix minimum -it's all marketing. The colour science is great on Venice/burano/fx6
Cheers for the reply Glen! Yeah hoping that some personal experiences will give a bit of industry context to people. Thats it - higher res means slower post pipeline, and bigger costs for data storage. Good to cut through all the marketing noise. All this aside - def agree on Sony making big improvements in colour science! They've definitely got a package of camera options for all budget levels of the industry now
True in regards to the Abc and Sbs, I would never shoot this in Raw. But independent doco's are usually shot in higher formats. You need to really love your images in order to really appreciate it anf grade images. Many docos do look cheap due to the lack of post production pipelines and budget. There are other raw cams at 6k that come close. But the price tag....for 8k 25p.... too much for just 30fps! It's essentially just a 6k camera, but not in xavc!.
All solid points. I've personally shot Doco work with Red Raw before - and although thats not for everyone (Especially broadcast networks doing the post inhouse) - The end results have been great and I wouldnt say its made the post process any harder other than using a bit more data. So if you where shooting a project happy to pay the rental for the Burano and run with 6k XOCN - I do think you'd get some great results - but just at least in my world thats not a super common scenario
Nice review. It is indeed odd how it seems to be positioned for doc work, but not at doc prices. I'm loving the image quality so far, so we'll see what the future holds for this little cam that almost can.
Cheers Chad! Yep for sure. Well at least for now - I guess it will be the 'go to' for high end tv and doco work. At least in Sydney - its cheaper to rent than any Arri model, as well as the Raptor. The other episodes of the show I shot for where Alexa Mini for A-Cam, and FX6 for B. So I guess thats telling of where this can slot in.
This camera makes sense to me since Sony already has the FX line up and the Venice Line up. I think it's exactly aimed at people that would otherwise rent a RED. Looking at it from a production house, why get the RED. I think that is the purpose of the price. They are going to say, it cost the same, it must be the same. I don't think this camera is for FX users although it nice to work with a high end camera that you can match your FX3/FX30 seamless. Sony know what they are doing
Fuck yeah Jake, really appreciate it man. Completely new style of video for me so was pretty daunting getting on the other side of the camera haha, stoked to know people are getting something out of it
Who else has used one? Here's a few other things I liked that I left out: - The classic FS7 style grip handle - How easy it was to rig straight out of the box, compared to more modular cameras Im used to like the Komodo. Only thing I added for my main shoot was a 5 inch monitor. - The ND's (I didnt get a chance to shoot in bright conditions so can't comment too much on the IR issues reported) - Dual Native 800/3200 ISO. Really strong feature that I think does set it apart a bit(again - albeit only a touch) from the FX line. I didnt get a chance to do too much testing but did shoot a bunch of scenes at 3200 and it looked great. Would be fun to play with pushing more detail to the highlights and going a bit deeper.
I bought one. Thanks for your take. I agree with most of what you've said here. But, I do want to mention that you didn't point out the camera comes with a PL mount bolted on. You actually need to remove that to access the E mount. I know you're working in doco, so you'll often be wanting the autofocus and extra stabilization that many E lenses offer on the Burano, but it's something to mention, especially since it's the only camera in the world I know of at this point that offers 3-axis stabilization of all PL lenses, and also the only camera in the world offering internal variable ND and IBIS. Killer feature pairing, that. I agree wholeheartedly about the messy SDI out options... It's not a finished product at this point, and Sony needs to address this mess in firmware, and I expect them to do that after so much outcry about it. Pretty unacceptable, honestly, and my single biggest gripe. That said, the X-OCN format is a cut above for deep color grading. It's just better, and a major part of the value proposition of the camera - the ability to flex into an internal raw recording means this camera works across a very wide range of applications, and X-OCN LT is highly efficient, making workflow easy if you're in Resolve, which handles it nicely. But, the ability to just go XAVC-I, as you did here makes it play so nicely with the ubiquitous FX cameras. Sony has the best ecosystem covering the most ground at this point, and Burano sits at a necessary place for some, but probably not MOST of their customers. Cheers!
@@ethreemedia Congrats on the purchase! Definately jealous haha, and still haven't ruled out purchasing one myself in coming months. I agree on all points! The switchable PL-E is definitely a great feature, I just wish the mechanics of the E-mount where a bit easier to use - lens changes felt slow and like you could easily scratch the filters. What has made the Red Komodo work well for me is that I can switch between 6k Red Raw and Prores - so what they've done with this is a more thorough version of that, and a proper non-modular camera - which is pretty epic. X-OCN LT for higher end jobs that demand it - and 4k XAVC-I for the rest - whilst still getting a really nice image - thats a really solid combo. Thanks for taking the time to give me your take on it, and all the best on having the best all round workhorse on the market for the next few years!
Thanks Caleb, great summary of your experience with it. Bondi shots look gorgeous btw..... some of the nicest stuff i've seen from it, along with the At the Motel short.... both shot by Aussie DoP'S..... hmmmm
Cheers Luke! It'd look even better pointed at some NZ scenes haha;) Definitely pretty happy with the images out of it, keen to use it again and hopefully pair it with some nice glass. Did you pick one up or rent?
@@calebgrahamfilms Indeed, it's screaming to be taken out to film some vistas! I had a loaner unit from Sony for 24hrs, I only managed a quick shoot in a pub, and an early morning walkaround... nothing too extensive. I'm keen to borrow it again to film something doco style to see how it fits with my style. I shot mostly S35 with my Fujinon MK 18-55, I was impressed the the build quality, ease of use, IBIS, and the highlight rolloff. Most of the negatives (RS, viewfinder, IR ETC) don't affect me and my style too. So it could be a great pickup to cover both my regular work and higher end jobs... If it was $35k-ish NZD it would be an easier decision, but for now it's a wait and see, especially with the market being slow.
@@lukefrater Yep I hear you. 10-15k cheaper would definitely make it a bit more appealing for the day-in-day-out jobs - It's got a lot going for it. It's been a slow start to the year here in Sydney as well! So for most people I chat to it definitely hasn't been a time when people are considering big gear investments
Great review/thoughts. I think your impressions are accurate as someone who has had one since they first hit the market. For context, I was coming from a FX9 and am more of a owner/operator (very few rentals days where I am not with my equipment). For me the wins have been form factor, IBIS, and of course the other things that I came to love about the FX9. I feel like the SDI output options should be sorted (are not as big of a deal for me personally), and the only real concern at the moment is the issues with full strength ND in daylight (not a situation I find myself in regularly). I think it will be a good long term(ish) camera for me that I will be able to slowly pay for with my daily rental rate and be a joy to work with while I am getting there. Cheers!
Nice mate, interesting to hear! Yep - natural progression from the FX9, and will be pretty future proof for you for the next few years for sure. The XOCN LT, and the XAVC-I options really cover all bases for owner ops. I don't think we've seen what the camera is capable of online from a more 'stylised' shoot yet either - Im sure someone will drop a music video, short film or doco shot on this soon that will blow people away. Agree on the financial side as well. There's two ways of looking at the rates thing - one is charging each time its used, the other is 'If I use it for 3 years, buy it new for X and then sell used it for X - how much has it cost me per year?' - and I think that way of thinking about it can definitely make sense for this if you're relatively busy. All the best with the cam!
@@calebgrahamfilms Thanks for the reply and also I think Sony is aware of the pain points that some are frustrated with. Not saying it wouldn't have been nice to fix before release, just saying that they seem to be listening.... Also wanted to mention that if you haven't spent as much time with the locking E mount, it is something that you definately develop a rhythm/system with and becomes very easy to use. Personally I leave the lens lock button engaged, release/loosen the mount as far as it will go (with it engaged), then I release the button and pop the lens off quickly. I know initially I tried releasing the lock and fully loosening the mount fully and that always seemed a bit more awkward as you have to apply a bit of pressure to release the mount, which may mean that you accidentally release the lens quicker than expected. Essentially I see it as a two stage process instead of one...
I am an owner operator DP/Cam op that works on mainly reality shows in the states (HGTV, Netflix, Discovery, MTV, VH1, ESPN). We're shooting mostly fx9 (sometimes fs7) as A cam, fx3 Gimble broll and sometimes fx6. I own 2-fx9's1-fx6 and 1-fx3 and over the past year the rental rates are dropping slightly or holding where they are at now for those cameras when I rent them out. I'm thinking if I brought a Burano which has few more bells and whistles compared to it's Fx9 siblings, I defiantly can see the Production managers/Line producers not wanting to pay the extra rental for a Burano that at the end of the day to most people (including myself) see it as only being slightly better than the Fx9 line of cameras for our reality/doc world we barley can get 4k (sometimes Slog is a battle to get approved) on shows...unless it's Netflix of course.
This is the exact kinda context I had seen around the market myself. I think most docos will continue to stick to the FX line, with the exception of those high end true crime or celebrity story style streaming Docos. I think your FX9 will continue to be a workhorse and money maker!
The image quality looks just like an A1 or higher res FX3. Similar highlight roll-off. Which was a bit...disappointing as I find Sony clips quicker than the competition. It's more the sum of its parts than a killer feature. The pricing definitely doesn't make sense. Just makes me hope that RED, Lumix or Blackmagic come out with a similar package.
Yeah fair call! I’ve never used the A1 but I’ve heard a few people make that image comparison now. And yeh I think thats the general takeaway - ‘are the sum of its parts worth an extra $25k(Aud) to comparable cameras?’ My thoughts on similar products from other brands? Red - Doubt it Blackmagic - I guess they arguably already have, especially if they come out with a ‘pro’ version with NDs. Panasonic - long overdue! Eva-1 style body with a full frame sensor and more up to date specs could be competitive. I think they’ve lagged a bit sense the vari-cam era in the pro-body market but those cams did have a great reputation Canon - coming soon no doubt, I’ve heard whispers some new flagship cine cameras aren’t far off
My first hater, welcome! Haha - fair enough point. Luckily for you there's plenty of other videos out there that are 100% test footage, I wanted this to be more about the financial/industry context
@@calebgrahamfilms hater? You surely could call my statement „complaining“ but „hater“? I didnt hate the video or the person nor do i intend to. But i was disappointed as by the title i expected nice footage because you seem like a person that has the skills and environment to do so. If anything: im a believer in your skills and wished for more samples! As a final note: i believe through Christ, that every human being is incredibly valuable and deserves Love. As such, if my statement sounded hateful I apologise and i wish you all the best. And yes, insay this even tho i would still love to see more sample footage from a talented guy like you, have an awesome day, 😎cheers!
Honest reviews are always appreciated... thanks!
Ahh cheers Dean! Thats the goal of these, stoked you enjoyed it.
This was a very refreshing take on the Burano - thanks for putting it together.
Cheers!
Great review man! Thinking about renting one of these for a spec commercial (Coming from an FX6 owner)
Cheers Jon! Yeh would definitely recommend renting one and shooting a test project on it, its definately capable of some good results. Coming from an FX6 you'll love the different dual ISO setting.. a lot of potential for pushing more detail into highlights or shadows by playing around with those settings, and the XOCN is super nice to work with. Let me know if you give it a a spin!
Thanks for sharing the industry expectations! Good to keep in mind when you see influencers promoting the latest and greatest that we can't do without!
Cheers! Haha yeh I know - its good to cut through the noise
Skip this and go with FX9 if you want that heavier pro-feel body with an amazing image from the sensor. We compared Burano to FX9 and not a single soul could see the difference. Also Burano’s NDs are unusable due to IR pollution.
agree, i own a fx9
How does it compare with FX3? The problem I feel with the FX3 without the ProRes (which I didn't try, but should) is that the colors in video looks washed out, and I don't feel very good about the image. The photos actually look fantastic, so I think it's the compression (the photos I see are Raw and Jpeg extra fine, which is much less compressed than XAVC)
@@ronbackal your asking how does the fx9 compare to fx3?
Yes. I know FX9 is a much more expensive camera, but it also has the limitation of the compression
@@adambobroy1958 FX9 is a different tool and beast. While the images might be comparable FX9 has so many more features built in like proper XLR ports, ND filters, actual buttons for different functions and many more ports.
some nice pictures in the Buruno - yes the ABC and "TV" isn't even 4K not even progressive they mostly want interlace some can use p then it gets converted to i - so the 8K/6K/4k is a myth as they don't want to deal with the storage space on most ABC internal docos. They use the canon a lot on 4C some FS7 floating around, even that is an overkill for 1080i. If you are shooting and delivering the final product it isn't such and issue, but ABC themselves have data storage issues. Very practical summation you have. not many will reveal that - once you dig into what they actually need its a matter of how you feel in the at the final grade. You bring up a great issue that people hand around that Netflix minimum -it's all marketing. The colour science is great on Venice/burano/fx6
Cheers for the reply Glen! Yeah hoping that some personal experiences will give a bit of industry context to people. Thats it - higher res means slower post pipeline, and bigger costs for data storage. Good to cut through all the marketing noise. All this aside - def agree on Sony making big improvements in colour science! They've definitely got a package of camera options for all budget levels of the industry now
True in regards to the Abc and Sbs, I would never shoot this in Raw. But independent doco's are usually shot in higher formats. You need to really love your images in order to really appreciate it anf grade images. Many docos do look cheap due to the lack of post production pipelines and budget. There are other raw cams at 6k that come close. But the price tag....for 8k 25p.... too much for just 30fps! It's essentially just a 6k camera, but not in xavc!.
All solid points. I've personally shot Doco work with Red Raw before - and although thats not for everyone (Especially broadcast networks doing the post inhouse) - The end results have been great and I wouldnt say its made the post process any harder other than using a bit more data. So if you where shooting a project happy to pay the rental for the Burano and run with 6k XOCN - I do think you'd get some great results - but just at least in my world thats not a super common scenario
@calebgrahamfilms I Agree with you, I had a doco shot in RAW and every time a non raw inage comes up in the grade we cringe!
Love this type of insightful review. Thank you for uploading.
Cheers David! Will go check out some of yours
Nice review. It is indeed odd how it seems to be positioned for doc work, but not at doc prices. I'm loving the image quality so far, so we'll see what the future holds for this little cam that almost can.
Cheers Chad! Yep for sure. Well at least for now - I guess it will be the 'go to' for high end tv and doco work. At least in Sydney - its cheaper to rent than any Arri model, as well as the Raptor. The other episodes of the show I shot for where Alexa Mini for A-Cam, and FX6 for B. So I guess thats telling of where this can slot in.
This camera makes sense to me since Sony already has the FX line up and the Venice Line up. I think it's exactly aimed at people that would otherwise rent a RED. Looking at it from a production house, why get the RED. I think that is the purpose of the price. They are going to say, it cost the same, it must be the same. I don't think this camera is for FX users although it nice to work with a high end camera that you can match your FX3/FX30 seamless. Sony know what they are doing
I agree, they've really covered all ends of the market
Really really great video, and Loved your insight as an owner-operator. Thanks for this
Fuck yeah Jake, really appreciate it man. Completely new style of video for me so was pretty daunting getting on the other side of the camera haha, stoked to know people are getting something out of it
Who else has used one? Here's a few other things I liked that I left out:
- The classic FS7 style grip handle
- How easy it was to rig straight out of the box, compared to more modular cameras Im used to like the Komodo. Only thing I added for my main shoot was a 5 inch monitor.
- The ND's (I didnt get a chance to shoot in bright conditions so can't comment too much on the IR issues reported)
- Dual Native 800/3200 ISO. Really strong feature that I think does set it apart a bit(again - albeit only a touch) from the FX line. I didnt get a chance to do too much testing but did shoot a bunch of scenes at 3200 and it looked great. Would be fun to play with pushing more detail to the highlights and going a bit deeper.
I bought one. Thanks for your take. I agree with most of what you've said here. But, I do want to mention that you didn't point out the camera comes with a PL mount bolted on. You actually need to remove that to access the E mount. I know you're working in doco, so you'll often be wanting the autofocus and extra stabilization that many E lenses offer on the Burano, but it's something to mention, especially since it's the only camera in the world I know of at this point that offers 3-axis stabilization of all PL lenses, and also the only camera in the world offering internal variable ND and IBIS. Killer feature pairing, that.
I agree wholeheartedly about the messy SDI out options... It's not a finished product at this point, and Sony needs to address this mess in firmware, and I expect them to do that after so much outcry about it. Pretty unacceptable, honestly, and my single biggest gripe. That said, the X-OCN format is a cut above for deep color grading. It's just better, and a major part of the value proposition of the camera - the ability to flex into an internal raw recording means this camera works across a very wide range of applications, and X-OCN LT is highly efficient, making workflow easy if you're in Resolve, which handles it nicely. But, the ability to just go XAVC-I, as you did here makes it play so nicely with the ubiquitous FX cameras. Sony has the best ecosystem covering the most ground at this point, and Burano sits at a necessary place for some, but probably not MOST of their customers. Cheers!
@@ethreemedia Congrats on the purchase! Definately jealous haha, and still haven't ruled out purchasing one myself in coming months. I agree on all points! The switchable PL-E is definitely a great feature, I just wish the mechanics of the E-mount where a bit easier to use - lens changes felt slow and like you could easily scratch the filters.
What has made the Red Komodo work well for me is that I can switch between 6k Red Raw and Prores - so what they've done with this is a more thorough version of that, and a proper non-modular camera - which is pretty epic. X-OCN LT for higher end jobs that demand it - and 4k XAVC-I for the rest - whilst still getting a really nice image - thats a really solid combo.
Thanks for taking the time to give me your take on it, and all the best on having the best all round workhorse on the market for the next few years!
Nice to see your face mate! ❤
Haha cheers Mark! Hope life's good, would love to get back down to your part of the world again soon its been way too long
Thanks Caleb, great summary of your experience with it. Bondi shots look gorgeous btw..... some of the nicest stuff i've seen from it, along with the At the Motel short.... both shot by Aussie DoP'S..... hmmmm
Cheers Luke! It'd look even better pointed at some NZ scenes haha;) Definitely pretty happy with the images out of it, keen to use it again and hopefully pair it with some nice glass. Did you pick one up or rent?
@@calebgrahamfilms Indeed, it's screaming to be taken out to film some vistas! I had a loaner unit from Sony for 24hrs, I only managed a quick shoot in a pub, and an early morning walkaround... nothing too extensive. I'm keen to borrow it again to film something doco style to see how it fits with my style.
I shot mostly S35 with my Fujinon MK 18-55, I was impressed the the build quality, ease of use, IBIS, and the highlight rolloff. Most of the negatives (RS, viewfinder, IR ETC) don't affect me and my style too. So it could be a great pickup to cover both my regular work and higher end jobs...
If it was $35k-ish NZD it would be an easier decision, but for now it's a wait and see, especially with the market being slow.
@@lukefrater Yep I hear you. 10-15k cheaper would definitely make it a bit more appealing for the day-in-day-out jobs - It's got a lot going for it.
It's been a slow start to the year here in Sydney as well! So for most people I chat to it definitely hasn't been a time when people are considering big gear investments
Great review/thoughts. I think your impressions are accurate as someone who has had one since they first hit the market. For context, I was coming from a FX9 and am more of a owner/operator (very few rentals days where I am not with my equipment). For me the wins have been form factor, IBIS, and of course the other things that I came to love about the FX9. I feel like the SDI output options should be sorted (are not as big of a deal for me personally), and the only real concern at the moment is the issues with full strength ND in daylight (not a situation I find myself in regularly). I think it will be a good long term(ish) camera for me that I will be able to slowly pay for with my daily rental rate and be a joy to work with while I am getting there. Cheers!
Nice mate, interesting to hear! Yep - natural progression from the FX9, and will be pretty future proof for you for the next few years for sure. The XOCN LT, and the XAVC-I options really cover all bases for owner ops. I don't think we've seen what the camera is capable of online from a more 'stylised' shoot yet either - Im sure someone will drop a music video, short film or doco shot on this soon that will blow people away. Agree on the financial side as well. There's two ways of looking at the rates thing - one is charging each time its used, the other is 'If I use it for 3 years, buy it new for X and then sell used it for X - how much has it cost me per year?' - and I think that way of thinking about it can definitely make sense for this if you're relatively busy. All the best with the cam!
@@calebgrahamfilms Thanks for the reply and also I think Sony is aware of the pain points that some are frustrated with. Not saying it wouldn't have been nice to fix before release, just saying that they seem to be listening....
Also wanted to mention that if you haven't spent as much time with the locking E mount, it is something that you definately develop a rhythm/system with and becomes very easy to use. Personally I leave the lens lock button engaged, release/loosen the mount as far as it will go (with it engaged), then I release the button and pop the lens off quickly. I know initially I tried releasing the lock and fully loosening the mount fully and that always seemed a bit more awkward as you have to apply a bit of pressure to release the mount, which may mean that you accidentally release the lens quicker than expected. Essentially I see it as a two stage process instead of one...
@@JasonCohenphoto Good to know! Will have a play with that approach next time I use it
Good stuff fella!
Yeah Tommy! Epic having ya along for the ride on this one
Great vídeo ,thanks
I am an owner operator DP/Cam op that works on mainly reality shows in the states (HGTV, Netflix, Discovery, MTV, VH1, ESPN). We're shooting mostly fx9 (sometimes fs7) as A cam, fx3 Gimble broll and sometimes fx6. I own 2-fx9's1-fx6 and 1-fx3 and over the past year the rental rates are dropping slightly or holding where they are at now for those cameras when I rent them out. I'm thinking if I brought a Burano which has few more bells and whistles compared to it's Fx9 siblings, I defiantly can see the Production managers/Line producers not wanting to pay the extra rental for a Burano that at the end of the day to most people (including myself) see it as only being slightly better than the Fx9 line of cameras for our reality/doc world we barley can get 4k (sometimes Slog is a battle to get approved) on shows...unless it's Netflix of course.
This is the exact kinda context I had seen around the market myself. I think most docos will continue to stick to the FX line, with the exception of those high end true crime or celebrity story style streaming Docos. I think your FX9 will continue to be a workhorse and money maker!
I thought I was ready but I wasn’t
The filthy head you never expected to pop up in your feed. Welcome.
The image quality looks just like an A1 or higher res FX3. Similar highlight roll-off. Which was a bit...disappointing as I find Sony clips quicker than the competition. It's more the sum of its parts than a killer feature.
The pricing definitely doesn't make sense. Just makes me hope that RED, Lumix or Blackmagic come out with a similar package.
Yeah fair call! I’ve never used the A1 but I’ve heard a few people make that image comparison now. And yeh I think thats the general takeaway - ‘are the sum of its parts worth an extra $25k(Aud) to comparable cameras?’
My thoughts on similar products from other brands?
Red - Doubt it
Blackmagic - I guess they arguably already have, especially if they come out with a ‘pro’ version with NDs.
Panasonic - long overdue! Eva-1 style body with a full frame sensor and more up to date specs could be competitive. I think they’ve lagged a bit sense the vari-cam era in the pro-body market but those cams did have a great reputation
Canon - coming soon no doubt, I’ve heard whispers some new flagship cine cameras aren’t far off
It's the same sensor as the A1 so that makes sense, seems very expensive for what it is
Interesting video! Thanks!
Cheers Pete
Why is this video 90% of a guy talking…it should be 90% sample footage…what is this?
My first hater, welcome! Haha - fair enough point. Luckily for you there's plenty of other videos out there that are 100% test footage, I wanted this to be more about the financial/industry context
I know right .. should keep that mug on the backend of a camera
@@WheresWinks Now that we can all agree on. More tightly framed rough head content coming soon just for you
@@calebgrahamfilms hater? You surely could call my statement „complaining“ but „hater“? I didnt hate the video or the person nor do i intend to.
But i was disappointed as by the title i expected nice footage because you seem like a person that has the skills and environment to do so. If anything: im a believer in your skills and wished for more samples!
As a final note: i believe through Christ, that every human being is incredibly valuable and deserves Love. As such, if my statement sounded hateful I apologise and i wish you all the best. And yes, insay this even tho i would still love to see more sample footage from a talented guy like you, have an awesome day, 😎cheers!
@@m0nztam0nk Just my bad sense of humour! Appreciate you checking it out nonetheless