Beyond all the equipment used, and the cost - it's remarkable, and tells a lot of what a solo filmmaker can pull off now with tools such as AF and the Crane 2S. As a solo filmmaker versus a team of three, to see the difference in the end result as minimal as it was... It's inspiring and exciting!
Duck sound: chéck! The ASMR is a bit scary, haha. Thoughts... The steadicam is - of course - better. BUT I expected to see more difference in the movement and stuff. The biggest difference in the video is the dynamic range different in the cameras.
Honestly, I can't tell enough of a difference with stabilization. I get distracted by the how the Red has a more dynamic depth of field and its focusing range is just different and because those are the most noticeable differences my mind has a hard time seeing any difference with the actual motion/stabilization. Rad video
Well, the red had a nd filter installed, so it allowed to be much more open that he was with his dslr I think. It would have been great if the f/t-stop were identified in the footage. More open, the autofocus would have had to work harder to keep up !
Marc nailed it. Some of the focal lengths and aperture were wildly different, such as the wide shot with the red at 26mm equiv and the Sony shooting all the way out at 16mm with a zoom, also the same happening at 135mm f/1.9 equiv vs 135mm f/5.6. Even with the smaller sensor, the RED benefits massively from the fast primes in term of DOF and FOV distortion. Also the REDs footage seems to be very well color graded compared to the Sony, but that might just be a result of Sony having crappy colors lol
Fully agree. I’m really impressed with the relatively cheap gear nowadays, I’m excited to see what the coming 10 years will bring for us enthousiasts!!
@@mochouinard yes, actual t and f stops would make this a much more educational test. Plus, many of the super 35 v full frame focal lengths could have been matched with the 2 zoom lenses used. The focus pulling on the Steadicam is human error, ultimately in a professional shoot this would not have been acceptable and shot again
The Crane2S is amazing! But the extra weight & steady cam gives the image a more organic movement. It just depends on what tool you need for the project! Great vid bro
@@thechrishau I wonder what the result would be with a drone, but it would probably be un unfair comparison because the lenses are obviously quite different and a professional drone would cause a tornado in that forest.
I also feel like all the gimbals like crane or moza air where camera is the highest point are much less stable even if we'll compare it with gimbals where camera is positioned at lower point, like Ronin, we almost always see that while panning. I think that's because of center of mass position but have to do some calculations to talk about that confidently. But anyway for now I know I wouldn't get anything like these one-hand held gimbals instead of my Ronin 1 :)
We should all take a second and step back to appreciate how good it is to be a film maker in 2020. Never before in film history have tools, visual quality, distribution channels and creative outlets been so easy to access for the independent, non commercial user. All of this was once relegated to mega buck production studios full of teams of people and gear. UA-cam, personal NLE software, small cinema cameras, gimbals, drones are allowing the creative minds of the common enthusiast / small shop to develop true cinematic levels of production quality. Personally, I'm excited to see what story tellers will do with these tools. Hats off to at least one thing good about being in 2020. Carry on creative people and continue to make your content for the world to see. We will be watching!
@ It's more of an observation of the industry as a whole. Various film tools have been around for a while, but until recent the cost entry was high. Producing high value content that competes with production houses is now within reach of the smaller shops and independent film makers. It really is a good time to be into film making. Cheers!
Definitely agree with you I’m using a canon eos rebel t2i with a moza air gimbal and I’m taking really good shots as practice pretty soon I’ll be filming a web series so stay tuned
@@daftbence it's not easy job.... In outdoor light even harder.... It takes a few attempts... And I suppose they must be in haste not to lose daylight because they might not have wanted to bring the whole equipment the next day again
I just can’t believe that thing cost 200,000, but the Crane was legit. Smaller setup, but I use the Crane M2, and so far I’ve been satisfied with the overall performance
Man its such a deal for it. My buddy just bought the stedicam that was used for broke back mountain and it was obo 70k just for the stedicam. That's before stands and carts and shiz
Great video, thanks for sharing. I did try a 'Flycam' setup with a Canon XF200 a couple of years ago but with 2 blown discs in my lower back I couldn't handle it. What amazes me is the weight these Steadicam operators manage to throw around like they weigh nothing. Take my hat off to ALL Steadicam operators, you guys ROCK!
I think it's a legitimate comparison in the sense that consumers now have something that was only previously available to professionals, at an extreme price. Sure, its a much smaller form factor, but it's a worthwhile comparison considering the tech has trickled down and is now more affordable. It's chasing that the pros have been using, and it's worthwhile seeing how far it's come. Obviously, if you compare price and features, it's going to be a ridiculous comparison, but the core focus here is the image stabilization... that's the entire purpose behind the Steadicam.
It was very interesting actually and not ridiculous! 99% of us can't afford that steadicam and don't need it. And for 99% of us there's not enough gained in output quality to justify such huge investment! You get amazing quality for the money with Crane. I actually had to look at the text to tell them apart.
I’m actually pleasantly surprised on the results. That crane really handles itself. I see there’s not winner or loser option here. This test showed that these gimbals can definitely compete. I love my Moza Air 2!
Fascinating comparison between a $600 gimbal and a $200,000 Hollywood Steadicam! Your detailed analysis and side-by-side footage offer valuable insights into the differences in stability and overall quality.
I feel like they both do an amazing job for sure. I think the main difference I noticed is that with the 200k setup, your eyes barely move around the screen because the subject is in the same spot and the movement is flawless. With the crane, you can see that it doesn't keep up in that aspect but still provides really smooth shots
A lot of training might help with the crane, too. I mean they say you need 3 years of relentless daily training with a steadicam until you can call yourself a steadicam operator. And probably some more years of training until you're *really* good. Keeping the subject in the exact same spot and capturing this flawless motion is a result of this guy's 20 years of experience with the steadicam.
@@edherdman9973 Of course, but my point was: did the gimbal operator have the same training as the steadicam operator? If someone just bought the expensive steadicam with no training, the result would be absolute shite. Some more training with the gimbal might help getting better results, too.
as a gimbal user myself, I would like to give a simple tip. Always try to walk towards your direction. If you can avoid walking backwards or sideways much better. IT would be great If you can plan your track before walking. Muscle memory on your wrist will eventually get used to when you turn the gimbal handle together with the position of your body. Its like dancing Swing. :)
The thing I found really noticeable was how the operators moved. With the $600 gimbal the operator looked very tense like they were trying to do half the work the gimbal was supposed to do. With the Steadycam, Russ looked much more relaxed, letting the rig just do its thing especially noticeable in the moving around objects shot.
Historically steadycam operators had much much less support from computers so they have learned really really smooth movement style. The modern computer assisted systems seem to be able to generate superb results even with less skilled operator.
Hey Chris thanks for the great video! I definitely feel like i notice the wayyy better tonality of the RED as well as the superior flare control of those Ultra primes over the Sony. I'm not experienced enough to know if its the stabilisation or the lens, but the RED footage feels less jarring to watch, but the Crane performed surprisingly well too. Vortex mode on the Crane was a clear winner though, especially since the Steadicam went off centre quite a fair bit.
I’m EXTREMELY impressed with the crane! Love this video, it was super eye opening to me, mainly a still photographer, who has no gimbal experience at all
That gimbal was really impressive. The RED had a better lens and that's what made the biggest difference in my eye, not the stabilization. Really cool comparison. There were times where I actually liked the gimbal shot better. ( Vortex ).
This video was awesome! They are both great tools but I was more surprised by the crane 2S's performance whereas I expected the steadicam to be frickin awesome!
SUPER fun. And THANK YOU for the footwork lessons - priceless value. Ah, a Steadicam is the stuff of art and dreams, but you did a wonderful job with the small gimbal. So helpful to watch.
I had wondered how they were doing the focusing. I assumed it must have been autofocus until the end when you saw them. I remember hearing a program on NPR about the people who were focusing the big cameras in the days of film. They didn't have a screen to look at, but they had to stay there with the camera and turn the dial on the lens, being able to know exactly how far away something was from the camera. It's awesome to see it put together.
You can actually see that the A7rIII performs just as good with the gimbal as the pro camera. The pro camera obviously looks better but the looks of that amount of megapixels aren't needed depending on what your needing to film. Great comparison. We should all know with proof that you do not need $200,000 to film something good.
The reason operators and companies use the expensive equipment has everything to do with control. Having more control over your gear so it allows you to do exactly what you need it to do saves more time and money in the long run. As was said in the video even, he was worried that having to rely on auto focus and exposure might affect the outcome of the shot, and he got lucky that it didn't do much. In controlled set environment, if you don't have the tools for the job that guarantee your shot to come out, you are forced a retake, therefor requiring everybody on set to redo everything (which might be a little or might be a lot). And everybody is paid to be there, so the more times you have to redo something from a technical error, the cost adds up, and they'd be hating themselves for not spending the extra budget on the right gear for the job.
I always love how you end your video. Also even through I don't know that much about gimbals, I definitely can see how some who is just starting could benefit from the cheeper gimbal.
Thanks for putting all this effort to make this comparison video. While stability is good in both systems, but footage from steadicam b-roll feels smoother and clearer, with a very familiar cinematic look and feel which handheld gimbal footage doesn't have. Probably it's the Red camera and an entire team behind it vs one person doing it on handheld gimbal, but it is definitely better.
2 years later, this was still fascinating. I was riveted. I bought a gimbal, received it DOA no op and returned it, never got another, and lately I've been wanting one again. This was amazing to watch.
As far as the stabilization goes, the Crane did a fantastically comparable job in everything except horizontal rotation (rotation about the y axis) which was only very slightly jerky. I think I'll definitely be able to comfortably stay in the less than $1000 range for stabilizers.
The steadicam best shines when it comes to panning, like how at 7:14 he's not staying center frame. But frankly, for the most part they're generally surprisingly similar.
You can really tell the difference on the turns. Steadicams are just more organic and responsive. But the crane 2s really pulled something great. Now let's see when DJI comes out with the Ronin S2. Finally a good competitor for DJI's ronin s line.
Tracking a subject: Steadycam Manoeuvring around objects: Very close, but Crane 2S took it Orbital: Steadycam When starting out the Crane 2S will suffice and the more you practice, the better your technique will become. Honestly, I think a pro on the Crane 2S will outperform a novice on the Steadycam. Great comparison video!
Chris, your gimbal technique is truly great. You can tell how much time you've spent working on it. Most gimbal users are not this smooth at ALL. You may not put Russ out of work, but your technique is outstanding.
There was a lot of out-of-focus moments during the shooting with the Red, even with a separate guy doing the remote focus-pulls. I was also surprised how well the small Crane gimbal stacked up to the pro Steadicam. Great video and worth watching! 🙂
that was so cool seeing him pin point where the box was in the video. so cool seeing people that are experts in their art of profession. so cool how he knows it all and sees things we never would!
Personally, I feel like Zhiyun was rotating too fast while the Steadicam was smoother but Zhiyun was definitely performing incredibly well for stabilizing.
Shocked to hear that there are people, like this guy, that have worked on over 100 productions, as a third world musician, this is just like a dream. Awesome video.
Ehhh... there's a big difference, but it's with the camera and lenses. The RED is producing a significantly better image. But if he had done this test with a better camera/lens setup... like for example a Blackmagic 6k and half-decent cinema prime lenses (like Rokinon), I think he would have ended up with a nearly indistinguishable final product, especially considering the cost differences. It's still hard to imagine the cost differences here.
Really cool video! The Steadicam definitely has the most natural look and feel. It killed it when doing the wrap around shots, the gimbal was too robotic. However the vortex shot was definitely won by the gimbal. Much more of a niche shot, but still interesting.
I learned steadicam on the same one used in the Shining. It's really hard on my back. After seeing this, I'm considering using it again. I love the look. Perhaps I'll start with a gimble and see how I feel about it with my 1DX II.
Honestly, with some more training on the crane, you can make these moves look exactly the same. But you cant put a fully rigged Alexa LF With some lovely Cooke Anamorphics on that little gimbal. Thats the main reason for that sick steadicam rig: Weight, Bro, Weight!
The difference of image quality Sony/Red is obvious… for the rest the difference in stabilization quality does not justify the difference in price for 99% of the projects, imho
Yeah... if he had used a better camera/lens setup, like a Blackmagic 6k with decent cinema prime lenses, this test would be shockingly close. The pro rig offers a lot of flexibility that you're just not going to get with a gimbal, and that's really what major productions are paying for, but like you said, for 99% of projects the price difference just can't be justified.
Excellent video, I am addicted to your content now. My take on this:1. Learn and master your ninja walk, 2.make sure you balance your camera as perfect as possible, 3. practice moving your gimbal smoothly, 5. get a good handle of your camera's capabilities. Those 5 points = upgrading your rig from a few grand to few hundred grand ! To the untrained eye, those shots would both be equally awesome and you can produce to high quality video.
Can I tell you something Chris? The real big difference to me is just the beautiful skin tone of the Red. In terms of stabiliziation, both ways served the purpose pretty well so it's just a matter of taste really. At the end of the day, as you said, it's down to what you need for that specific shot. Let's say you need a long jib but you don't have access to it (who has?😅), even a drone like my Dji Mavic 2 Pro can do the job if you can handle it properly. Great video mate
Honestly, I think the biggest difference in this comparison is the color grading and framing skill difference. As far as smoothness, the two are quite close with the Steadicam obviously having now options but not being particularly smoother. Focus pull wise, the Sony seemed to almost do better at keeping focus on the subject BUT the manual focus pulls of the Steadicam looked better, despite being less precise. Framing: the Red affords more direct control but the operator's experience over yours is obvious. Not to say you're bad by any means; just not as good. Color grading: whether your *fault* on not making the two look equal or a demonstration of the limits of Sony's 8-bit 4:2:0 and limited data rates it's hard for me to tell. Either way, advantage goes to the Steadicam.
Honestly, a single guy + one thing that I could afford VS something that costs like a house + needs a team for the operation. For my humble viewer perspective the Sony camera with the gimbal kicked the big boy butt
A comparison of the two cameras is enough. The difference is huge. But Sony's camera and gimbal's perfect work. Which the red camera could not show. Thank you brother, such work will encourage us.
The blacks on the Sony footage were full of grading artifacts, it's so obvious at the breakup points between the midtones and shadows/blacks. It reminded me of when i was trying to push the sLog footage out of an A7rIII and A7III, i couldn't push the gradation past a certain point before the artifacts would show up. It was so bad that even the footage out of an 5D MkIV (either 1080p All-I or 4K DCI which weren't even shot in Log) were so much manageable in post compared to the Sony's counterparts.
There is a big difference in what you can do with the image as well... you dont fly bigger cameras because they are bigger, you do it because of the quiilty and what they can do... compare the image at 10:45 as and example, the sony camera is looking like its a cartoon in the hair, or 10:57 its just terrible
I hated the upcoming of low end CAM / VLOG style MTV programs “about 20 years ago”. But seeing this now, I realise how far we have come from that point. It made as a starting film / movie maker turning your fantasy into reality so much more accessible. I can’t wait to see what the future will have in store for us.
Love these comparison videos! I shoot with my iPhone all the time and enjoy saying "It's not about the gear, but what's in between the ears;)" Thanx again so much for sharing as I enjoy learning the more technical aspects of shooting:))
Great comparison. Felt like the RED EPIC W (w/Super 35 sensor shot @ 7:10) actually lost focus for a second on the talent..during the ORBITAL/Long Short. Actually thought the Sony A7RIII w/ Zhiyon did a really nice job. Fun little comparison!
The only difference here is that the RED camera produced a more cinematic image, aside from that, the Gimbal was just as stable as the Steadicam. Do the same test with the Crane s3 with a red camera and see if anyone woud be able to tell the difference
i know that planning and executing videos like this is a huge undertaking but these collab videos that take the "high vs. low" approach are SOOOOOO interesting.
it's getting close indeed! :) But the big stuff will always be around, the tech in the RED / ARRI is so complex and advanced however it takes a very dialled in eye to really tell.
I think steadicams will be around a while yet. Gimbals are all very well, but they can’t fly the heavy camera set ups and they also don’t give the operator complete control of the shot. (25 years steadicam op)
Excellent comparison. Thank you. Every time I see the quality Red puts out I want to get one even though I have no idea what to do with it. Next time, it would be really cool if you could have the professional show us what he can do with the Crane versus you or even better, versus the "average" person buying and using one for their videos.
The shots in movement are actually pretty much similar but the best image you get from that shallow depth of field, it's just magical, and I can only blame that on them lens and the size of that sensor.
It’s hard to say if it’s the actual tool in use or the specialized skill and practice he has, but I thought the framing, especially on longer focal lengths, was far better on the steadicam. Overall, the fact that things like this even come into question with a ~$500 gimbal (without a 4th axis stabilizer or ring system) is unbelievable. A ring or side handles would’ve definitely helped the framing, which is the biggest thing I noticed so... fun video dude 👍
First of all these are two different tools which give two effects. Stedicam is more organic, I agree that here on youtube that makes no difference, but in cinema where every move is motivated that will be huge deal. Second thing I wanna mention is fact that trinity is more of a studio set up. That means that you are able to fix camera movement and make a few takes exacly the same from cinematography side. I agree that was fun and I like your video, I just felt like I have to say something from my viewpoint. I wish you nice shots guys ;)
As an assistant I worked with Toby Phillips (Born on the Forth of July), Larry McConkey.... (Everything from Shining to 20 year plus,. Guy Bee, every rock video you ever saw and called ER some hospital show that he shot his first day after shooting the Bob Seger "Night Moves" video with Wane Isham.... Not an easy director. My assistant career ended with Tim Bellen... The most amazing operator I ever worked with as an assistant. I could pull marks to within inches and he hit them hauling a Sony f30. Which included my most difficult focus pull with a 135 mm lens wide open, at night...last shot. Depth of field fractions of an inch. You're never going to be able to repeat the quality of the top dogs no matter what gear you have.
Who made it to the duck sound?? Also, what are your thoughts? Genuinely interested to hear what you think of all the comparisons.
Obviously that guys video looked better but the stability really wasn't much different considering the price difference haha
Beyond all the equipment used, and the cost - it's remarkable, and tells a lot of what a solo filmmaker can pull off now with tools such as AF and the Crane 2S. As a solo filmmaker versus a team of three, to see the difference in the end result as minimal as it was... It's inspiring and exciting!
Duck sound: chéck! The ASMR is a bit scary, haha.
Thoughts... The steadicam is - of course - better. BUT I expected to see more difference in the movement and stuff. The biggest difference in the video is the dynamic range different in the cameras.
Agreed, apart from the obvious difference in image quality, the crane did a great job.
Now that we're best friends now can you check out my Instagram and throw me some love! @LGPmedia.
I feel like hollywood cameramen are stronger than the actors
yeah you can see cameraman names always in credit section
@@firstsoldier4257 do the credits have something to do with their strength?
It doesn’t hurt to be in strong physical shape to operate that gigantic steadicam rig lol
Because they Are!
@@firstsoldier4257 lmao everybody has to be in the credit section what do you mean
Honestly, I can't tell enough of a difference with stabilization. I get distracted by the how the Red has a more dynamic depth of field and its focusing range is just different and because those are the most noticeable differences my mind has a hard time seeing any difference with the actual motion/stabilization. Rad video
Well, the red had a nd filter installed, so it allowed to be much more open that he was with his dslr I think. It would have been great if the f/t-stop were identified in the footage. More open, the autofocus would have had to work harder to keep up !
Marc nailed it. Some of the focal lengths and aperture were wildly different, such as the wide shot with the red at 26mm equiv and the Sony shooting all the way out at 16mm with a zoom, also the same happening at 135mm f/1.9 equiv vs 135mm f/5.6. Even with the smaller sensor, the RED benefits massively from the fast primes in term of DOF and FOV distortion. Also the REDs footage seems to be very well color graded compared to the Sony, but that might just be a result of Sony having crappy colors lol
Fully agree. I’m really impressed with the relatively cheap gear nowadays, I’m excited to see what the coming 10 years will bring for us enthousiasts!!
@@mochouinard yes, actual t and f stops would make this a much more educational test. Plus, many of the super 35 v full frame focal lengths could have been matched with the 2 zoom lenses used.
The focus pulling on the Steadicam is human error, ultimately in a professional shoot this would not have been acceptable and shot again
Jesus Christ is Lord & He's coming soon. Dont take that vaccine ! ❤ 🙏🏼
The Crane2S is amazing! But the extra weight & steady cam gives the image a more organic movement. It just depends on what tool you need for the project! Great vid bro
It was really cool to see the difference. There’s time I want the steadicam look and another time that I want the gimbal.
@@thechrishau I wonder what the result would be with a drone, but it would probably be un unfair comparison because the lenses are obviously quite different and a professional drone would cause a tornado in that forest.
You can't mount a RED or Arri on a crane.
I also feel like all the gimbals like crane or moza air where camera is the highest point are much less stable even if we'll compare it with gimbals where camera is positioned at lower point, like Ronin, we almost always see that while panning. I think that's because of center of mass position but have to do some calculations to talk about that confidently. But anyway for now I know I wouldn't get anything like these one-hand held gimbals instead of my Ronin 1 :)
true, but.... is that little bit more organic movement worth 300x the money?
mmmmmmmmm. not sure!
We should all take a second and step back to appreciate how good it is to be a film maker in 2020.
Never before in film history have tools, visual quality, distribution channels and creative outlets been so easy to access for the independent, non commercial user. All of this was once relegated to mega buck production studios full of teams of people and gear. UA-cam, personal NLE software, small cinema cameras, gimbals, drones are allowing the creative minds of the common enthusiast / small shop to develop true cinematic levels of production quality. Personally, I'm excited to see what story tellers will do with these tools. Hats off to at least one thing good about being in 2020.
Carry on creative people and continue to make your content for the world to see. We will be watching!
@ It's more of an observation of the industry as a whole.
Various film tools have been around for a while, but until recent the cost entry was high. Producing high value content that competes with production houses is now within reach of the smaller shops and independent film makers.
It really is a good time to be into film making. Cheers!
Definitely agree with you I’m using a canon eos rebel t2i with a moza air gimbal and I’m taking really good shots as practice pretty soon I’ll be filming a web series so stay tuned
Fax!!!
I agree , its a exciting time for filmakers , we were waiting for gimbals since the age of mini dv !
Love you comment! It’s so well composed!
I don't think the comparison was silly at all. I always love seeing how lower end gears stacks up to upper tier gear. Fantastic video!
Great comparison. It was actually the cinema camera that was losing focus at times
Well they were manual focus pulling
@ and normally you have a person who is seperatly in charge of pulling the focus remotely
@ So they did a shite job?
@@daftbence it's not easy job.... In outdoor light even harder.... It takes a few attempts... And I suppose they must be in haste not to lose daylight because they might not have wanted to bring the whole equipment the next day again
@@daftbence yes, if they did IT multiple times yes. He also had markers on his remote i think.
I just can’t believe that thing cost 200,000, but the Crane was legit. Smaller setup, but I use the Crane M2, and so far I’ve been satisfied with the overall performance
Man its such a deal for it. My buddy just bought the stedicam that was used for broke back mountain and it was obo 70k just for the stedicam. That's before stands and carts and shiz
Phúc Mập Vlog hi, không ngờ gặp anh ở đây
Yo xin chào
Hi Phuc.i'm from saigon
I'm using the crane m2 too, but sometimes it's PF mode is stupid :(
Great video, thanks for sharing. I did try a 'Flycam' setup with a Canon XF200 a couple of years ago but with 2 blown discs in my lower back I couldn't handle it. What amazes me is the weight these Steadicam operators manage to throw around like they weigh nothing. Take my hat off to ALL Steadicam operators, you guys ROCK!
"It's a ridiculous comparison, but lets do it anyways" At least the honesty & transparency is there!! Thumbs up for that alone!
Of course man. I’m here to have fun - plus the results were legit super interesting
@@thechrishau Of course, the most important thing! but the real question is, when you copping that steadicam set up lmao.
I think it's a legitimate comparison in the sense that consumers now have something that was only previously available to professionals, at an extreme price. Sure, its a much smaller form factor, but it's a worthwhile comparison considering the tech has trickled down and is now more affordable. It's chasing that the pros have been using, and it's worthwhile seeing how far it's come. Obviously, if you compare price and features, it's going to be a ridiculous comparison, but the core focus here is the image stabilization... that's the entire purpose behind the Steadicam.
It was very interesting actually and not ridiculous!
99% of us can't afford that steadicam and don't need it. And for 99% of us there's not enough gained in output quality to justify such huge investment! You get amazing quality for the money with Crane. I actually had to look at the text to tell them apart.
He was wrong though. The comparison was done and the cheaper side held up great compared to $200,000.
That was SO SICK!! The red is such a beast, but the Sony can keep up, just imagine where both will be in another 5-10 years!
Russ looks 25 and he’s been shooting for 20 years… 😂😂
I thought the exact same thing
Rituals
5 year old big proffesional camera mover
Shooting keeps you young smh
Hi i love this video.
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Ok, you convinced me of Russ' steadicam over the Crane2. Where's the link in the description?
This video just made me appreciate being a dslr shooter even more lol. We still get alot for these low prices.
a lot*
hayden thanks Karen
Director Cyclone my name is hayden
@@hayden7520 karen i hate it when we fight.
Director Cyclone stop liking your own comments
I’m actually pleasantly surprised on the results. That crane really handles itself. I see there’s not winner or loser option here. This test showed that these gimbals can definitely compete. I love my Moza Air 2!
Honestly, I can't tell when the gimbal went over the obstacle
Fascinating comparison between a $600 gimbal and a $200,000 Hollywood Steadicam! Your detailed analysis and side-by-side footage offer valuable insights into the differences in stability and overall quality.
I feel like they both do an amazing job for sure. I think the main difference I noticed is that with the 200k setup, your eyes barely move around the screen because the subject is in the same spot and the movement is flawless. With the crane, you can see that it doesn't keep up in that aspect but still provides really smooth shots
A lot of training might help with the crane, too. I mean they say you need 3 years of relentless daily training with a steadicam until you can call yourself a steadicam operator. And probably some more years of training until you're *really* good. Keeping the subject in the exact same spot and capturing this flawless motion is a result of this guy's 20 years of experience with the steadicam.
@@highks496 But some of this is just physics. Bigger mass with the Steadicam means it absorbs a lot more movement than you can with a Gimbal.
@@edherdman9973 Of course, but my point was: did the gimbal operator have the same training as the steadicam operator? If someone just bought the expensive steadicam with no training, the result would be absolute shite. Some more training with the gimbal might help getting better results, too.
as a gimbal user myself, I would like to give a simple tip. Always try to walk towards your direction. If you can avoid walking backwards or sideways much better. IT would be great If you can plan your track before walking. Muscle memory on your wrist will eventually get used to when you turn the gimbal handle together with the position of your body. Its like dancing Swing. :)
The thing I found really noticeable was how the operators moved. With the $600 gimbal the operator looked very tense like they were trying to do half the work the gimbal was supposed to do. With the Steadycam, Russ looked much more relaxed, letting the rig just do its thing especially noticeable in the moving around objects shot.
This has probably also something to do with the fact that the youtuber guy may be very good, but the other afaik is a god tier operator
Historically steadycam operators had much much less support from computers so they have learned really really smooth movement style. The modern computer assisted systems seem to be able to generate superb results even with less skilled operator.
@@MikkoRantalainenyou literally have to be very skilled and well trained to operate a trinity properly.
Glad to watch this comparative analysis. I REALLY want the Zhiyun Crane 2 S even MORE now
Crazy that the Zhiyun is holding up against the steadi cam, I feel like they're both great, like he said there's a time and place for both 👌
Hey Chris thanks for the great video! I definitely feel like i notice the wayyy better tonality of the RED as well as the superior flare control of those Ultra primes over the Sony. I'm not experienced enough to know if its the stabilisation or the lens, but the RED footage feels less jarring to watch, but the Crane performed surprisingly well too. Vortex mode on the Crane was a clear winner though, especially since the Steadicam went off centre quite a fair bit.
I’m EXTREMELY impressed with the crane! Love this video, it was super eye opening to me, mainly a still photographer, who has no gimbal experience at all
That steadicam set up is beautiful 🤤
Focus puller was slacking
That gimbal was really impressive. The RED had a better lens and that's what made the biggest difference in my eye, not the stabilization. Really cool comparison. There were times where I actually liked the gimbal shot better. ( Vortex ).
This video was awesome! They are both great tools but I was more surprised by the crane 2S's performance whereas I expected the steadicam to be frickin awesome!
SUPER fun. And THANK YOU for the footwork lessons - priceless value. Ah, a Steadicam is the stuff of art and dreams, but you did a wonderful job with the small gimbal. So helpful to watch.
Man I'd love to be able to work with a steady cam one day! So sick!
really love this comparison! seeing how "more affordable" option not always worse, and like what you say "the right tools for the right jobs"
as a layperson, the orbital shot is the only one where I had a clear preference (for the steadicam ofc)
I had wondered how they were doing the focusing. I assumed it must have been autofocus until the end when you saw them.
I remember hearing a program on NPR about the people who were focusing the big cameras in the days of film. They didn't have a screen to look at, but they had to stay there with the camera and turn the dial on the lens, being able to know exactly how far away something was from the camera.
It's awesome to see it put together.
You can actually see that the A7rIII performs just as good with the gimbal as the pro camera. The pro camera obviously looks better but the looks of that amount of megapixels aren't needed depending on what your needing to film. Great comparison. We should all know with proof that you do not need $200,000 to film something good.
The reason operators and companies use the expensive equipment has everything to do with control. Having more control over your gear so it allows you to do exactly what you need it to do saves more time and money in the long run. As was said in the video even, he was worried that having to rely on auto focus and exposure might affect the outcome of the shot, and he got lucky that it didn't do much. In controlled set environment, if you don't have the tools for the job that guarantee your shot to come out, you are forced a retake, therefor requiring everybody on set to redo everything (which might be a little or might be a lot). And everybody is paid to be there, so the more times you have to redo something from a technical error, the cost adds up, and they'd be hating themselves for not spending the extra budget on the right gear for the job.
I always love how you end your video. Also even through I don't know that much about gimbals, I definitely can see how some who is just starting could benefit from the cheeper gimbal.
Should’ve worn a muscle shirt to make it a more even comparison
I was wondering if sleeves are banned if you work in stabilisation.
Lmao
oucha
Thanks for putting all this effort to make this comparison video. While stability is good in both systems, but footage from steadicam b-roll feels smoother and clearer, with a very familiar cinematic look and feel which handheld gimbal footage doesn't have. Probably it's the Red camera and an entire team behind it vs one person doing it on handheld gimbal, but it is definitely better.
Damn Umbrella Academy and The Boys! Two of my favorite series. This guy is the sh***! Loved the gimbal comparisons!
2 years later, this was still fascinating. I was riveted. I bought a gimbal, received it DOA no op and returned it, never got another, and lately I've been wanting one again. This was amazing to watch.
As far as the stabilization goes, the Crane did a fantastically comparable job in everything except horizontal rotation (rotation about the y axis) which was only very slightly jerky. I think I'll definitely be able to comfortably stay in the less than $1000 range for stabilizers.
The steadicam best shines when it comes to panning, like how at 7:14 he's not staying center frame. But frankly, for the most part they're generally surprisingly similar.
You can really tell the difference on the turns. Steadicams are just more organic and responsive. But the crane 2s really pulled something great. Now let's see when DJI comes out with the Ronin S2. Finally a good competitor for DJI's ronin s line.
I'm looking forward for next generation of DJI RONIN 4D. That might be the best balance for small budgets.
Tracking a subject: Steadycam
Manoeuvring around objects: Very close, but Crane 2S took it
Orbital: Steadycam
When starting out the Crane 2S will suffice and the more you practice, the better your technique will become.
Honestly, I think a pro on the Crane 2S will outperform a novice on the Steadycam.
Great comparison video!
200,000 Canadian = $3.50 US for those who don’t know.
350k USD THANK YOU
@@classicdufferin8739 he just forget to add "k"
@@Anxsh651 no no
It's actually 3.5 dollars
So cheap man
@@Anxsh651 nah I think he meant 3.50. Super cheap no?
😂😂 are you sure about that
Chris, your gimbal technique is truly great. You can tell how much time you've spent working on it. Most gimbal users are not this smooth at ALL. You may not put Russ out of work, but your technique is outstanding.
There was a lot of out-of-focus moments during the shooting with the Red, even with a separate guy doing the remote focus-pulls. I was also surprised how well the small Crane gimbal stacked up to the pro Steadicam. Great video and worth watching! 🙂
I totally agree
Yeah... 10:26 the autofocus did better during the whole scene 🤔
that was so cool seeing him pin point where the box was in the video. so cool seeing people that are experts in their art of profession. so cool how he knows it all and sees things we never would!
Personally, I feel like Zhiyun was rotating too fast while the Steadicam was smoother but Zhiyun was definitely performing incredibly well for stabilizing.
Shocked to hear that there are people, like this guy, that have worked on over 100 productions, as a third world musician, this is just like a dream. Awesome video.
Me knowing nothing about cameras and still watching it be like : hmmm that's interesting
I feel like I’ve seen your comment on other camera videos lmao
Worked with Russ and his crew on a shoot in Ireland, back in 2018. Brilliant fun!
There's NO WAY! to see a difference... ABSOLUTELY Can't. The CRANE actually did better in one of the first tracking shots.
Ehhh... there's a big difference, but it's with the camera and lenses. The RED is producing a significantly better image. But if he had done this test with a better camera/lens setup... like for example a Blackmagic 6k and half-decent cinema prime lenses (like Rokinon), I think he would have ended up with a nearly indistinguishable final product, especially considering the cost differences.
It's still hard to imagine the cost differences here.
min 6:00 is gold!!! the difference between a pro operator and him walking, I had to stop and study that technique
Really cool video! The Steadicam definitely has the most natural look and feel. It killed it when doing the wrap around shots, the gimbal was too robotic. However the vortex shot was definitely won by the gimbal. Much more of a niche shot, but still interesting.
I learned steadicam on the same one used in the Shining. It's really hard on my back. After seeing this, I'm considering using it again. I love the look. Perhaps I'll start with a gimble and see how I feel about it with my 1DX II.
Honestly, with some more training on the crane, you can make these moves look exactly the same. But you cant put a fully rigged Alexa LF With some lovely Cooke Anamorphics on that little gimbal. Thats the main reason for that sick steadicam rig: Weight, Bro, Weight!
big thanks man, im not getting into doing a small mini series and need some tools this looks like a great starting point.
Rather focusing on stabilization is was more peeping on image quality difference 😅
Back in the eighties I was a cameraman using the Arriflex BL 2. I’m now retired. I was amazed at how the Crane performed. Makes me want buy one.
The difference of image quality Sony/Red is obvious… for the rest the difference in stabilization quality does not justify the difference in price for 99% of the projects, imho
It's a Sony consumer mirrorless camera compared to a cinema red camera. Would make more sense to compare to Sony's Venice camera or even their FX9
It's just heavy so more hard to stabilize but it's crazy what you can do on the relatively cheap
It justifies when we're talking about movies
@@tiago.brettas Well Claude Lelouch made his last movie with …… a iPhone…
Yeah... if he had used a better camera/lens setup, like a Blackmagic 6k with decent cinema prime lenses, this test would be shockingly close.
The pro rig offers a lot of flexibility that you're just not going to get with a gimbal, and that's really what major productions are paying for, but like you said, for 99% of projects the price difference just can't be justified.
Excellent video, I am addicted to your content now. My take on this:1. Learn and master your ninja walk, 2.make sure you balance your camera as perfect as possible, 3. practice moving your gimbal smoothly, 5. get a good handle of your camera's capabilities. Those 5 points = upgrading your rig from a few grand to few hundred grand ! To the untrained eye, those shots would both be equally awesome and you can produce to high quality video.
Who else is on a photography/videography binge after stumbling across a recommendation
Can I tell you something Chris? The real big difference to me is just the beautiful skin tone of the Red. In terms of stabiliziation, both ways served the purpose pretty well so it's just a matter of taste really. At the end of the day, as you said, it's down to what you need for that specific shot. Let's say you need a long jib but you don't have access to it (who has?😅), even a drone like my Dji Mavic 2 Pro can do the job if you can handle it properly. Great video mate
The only difference I noticed was the camera quality!
This was a great way to hype up the steady cam op. Absolutely a beast!!
Я приголомшений, така різниця в ціні. Чудове відео.
In terms of stability both did a fantastic job
In gimble one thing noticed is the jerk while pan
Honestly, I think the biggest difference in this comparison is the color grading and framing skill difference.
As far as smoothness, the two are quite close with the Steadicam obviously having now options but not being particularly smoother.
Focus pull wise, the Sony seemed to almost do better at keeping focus on the subject BUT the manual focus pulls of the Steadicam looked better, despite being less precise.
Framing: the Red affords more direct control but the operator's experience over yours is obvious. Not to say you're bad by any means; just not as good.
Color grading: whether your *fault* on not making the two look equal or a demonstration of the limits of Sony's 8-bit 4:2:0 and limited data rates it's hard for me to tell. Either way, advantage goes to the Steadicam.
I really think that the crane performs amazingly well. In terms of camera movement it keeps up with the steadicam nicelly.Super cool video.
Honestly, a single guy + one thing that I could afford VS something that costs like a house + needs a team for the operation. For my humble viewer perspective the Sony camera with the gimbal kicked the big boy butt
A comparison of the two cameras is enough. The difference is huge. But Sony's camera and gimbal's perfect work. Which the red camera could not show. Thank you brother, such work will encourage us.
The red looks way better but I think it is because of the lenses and the framing way more than the gimbal
The blacks on the Sony footage were full of grading artifacts, it's so obvious at the breakup points between the midtones and shadows/blacks. It reminded me of when i was trying to push the sLog footage out of an A7rIII and A7III, i couldn't push the gradation past a certain point before the artifacts would show up. It was so bad that even the footage out of an 5D MkIV (either 1080p All-I or 4K DCI which weren't even shot in Log) were so much manageable in post compared to the Sony's counterparts.
Wonderful comparison, I totally agree with your opinion about the gimbal as entry pass for a enthusiast into filmmaking.
There is a big difference in what you can do with the image as well... you dont fly bigger cameras because they are bigger, you do it because of the quiilty and what they can do... compare the image at 10:45 as and example, the sony camera is looking like its a cartoon in the hair, or 10:57 its just terrible
4 likes ....
@@Yedrellow123 why would you? I mean does it matter?
@@Yedrellow123 nah its fine bro :) I just didn't understand
Critical - There is almost no difference in image quality, and for me Sony looks better / sharper.
@@Indimenticabil ok Mr expert 👍🏻you want me to send you files from each camera?
I hated the upcoming of low end CAM / VLOG style MTV programs “about 20 years ago”. But seeing this now, I realise how far we have come from that point. It made as a starting film / movie maker turning your fantasy into reality so much more accessible. I can’t wait to see what the future will have in store for us.
Wooow 200,000 😅
Great video
Love these comparison videos! I shoot with my iPhone all the time and enjoy saying "It's not about the gear, but what's in between the ears;)" Thanx again so much for sharing as I enjoy learning the more technical aspects of shooting:))
Hey Chris was Steadyshot turned on or off?
Great comparison. Felt like the RED EPIC W (w/Super 35 sensor shot @ 7:10) actually lost focus for a second on the talent..during the ORBITAL/Long Short. Actually thought the Sony A7RIII w/ Zhiyon did a really nice job. Fun little comparison!
I love how I always use a song from Epidemic at the same time as Chris or Matti 😂😂
I didnt think I would see too big of a difference but I really did. Those steadycam shots are just butter
The only difference here is that the RED camera produced a more cinematic image, aside from that, the Gimbal was just as stable as the Steadicam. Do the same test with the Crane s3 with a red camera and see if anyone woud be able to tell the difference
i know that planning and executing videos like this is a huge undertaking but these collab videos that take the "high vs. low" approach are SOOOOOO interesting.
The end of these big cinema rigs is soon !
The companies are challenging Hollywood gears now
it's getting close indeed! :) But the big stuff will always be around, the tech in the RED / ARRI is so complex and advanced however it takes a very dialled in eye to really tell.
Not really
I think steadicams will be around a while yet. Gimbals are all very well, but they can’t fly the heavy camera set ups and they also don’t give the operator complete control of the shot.
(25 years steadicam op)
Excellent comparison. Thank you. Every time I see the quality Red puts out I want to get one even though I have no idea what to do with it. Next time, it would be really cool if you could have the professional show us what he can do with the Crane versus you or even better, versus the "average" person buying and using one for their videos.
Price difference: $199400
Result difference: 0
I'm genuinely impressed, I didn't expect a chepo (in comparison) device would perform that good.
Nice comparison! Crazy how close it can look for such a fraction of the price 🤑
The shots in movement are actually pretty much similar but the best image you get from that shallow depth of field, it's just magical, and I can only blame that on them lens and the size of that sensor.
I got hooked on your video's. Really love how you tell the story!
My sincere opinion no significant difference. Thanks guys
Man that $200,000 setup is unreal. The film is so buttery smooth! Love the Sony shots but they make them look like a 720p in comparison lol
It’s hard to say if it’s the actual tool in use or the specialized skill and practice he has, but I thought the framing, especially on longer focal lengths, was far better on the steadicam.
Overall, the fact that things like this even come into question with a ~$500 gimbal (without a 4th axis stabilizer or ring system) is unbelievable.
A ring or side handles would’ve definitely helped the framing, which is the biggest thing I noticed so... fun video dude 👍
First of all these are two different tools which give two effects. Stedicam is more organic, I agree that here on youtube that makes no difference, but in cinema where every move is motivated that will be huge deal. Second thing I wanna mention is fact that trinity is more of a studio set up. That means that you are able to fix camera movement and make a few takes exacly the same from cinematography side. I agree that was fun and I like your video, I just felt like I have to say something from my viewpoint. I wish you nice shots guys ;)
Great ending! Actually laughed out loud. Thanks Chris! You won me back and love seeing you actually be you.
I loved this comparison, awesome video!
Being honest, I believe your video got better Chris, things are more in focus!
As an assistant I worked with Toby Phillips (Born on the Forth of July), Larry McConkey.... (Everything from Shining to 20 year plus,. Guy Bee, every rock video you ever saw and called ER some hospital show that he shot his first day after shooting the Bob Seger "Night Moves" video with Wane Isham.... Not an easy director. My assistant career ended with Tim Bellen... The most amazing operator I ever worked with as an assistant. I could pull marks to within inches and he hit them hauling a Sony f30. Which included my most difficult focus pull with a 135 mm lens wide open, at night...last shot. Depth of field fractions of an inch.
You're never going to be able to repeat the quality of the top dogs no matter what gear you have.
Loved this video you just got a new sub with all notifications on keep up the good work!
lolol :) nice man! Loved the cat part! Luna-tic! Thanks for the content!