the gap is closing fast.....FX3 and the 7SIII is doing even great options as the cinema cams are doing. Watched Amondo's FX3 set up and that was so sick already...So the choice is indeed in what you want to see and Mirrorless cams are doing the most these day...Love your work Pete, can't wait to see ur next go to cam...😁🤘🏽
cinema cameras are for cinema shooting. imagine that :) when movie makes 100 millions, price of camera is not a big deal. real problem is when youtuber that have ton of money thinks that he needs red 8k camera and zeiss master primes lenses for room vlogs
Two words: Dynamic Range. That is the reason that I continue to grab a cinema camera. I shoot a majority of my projects outdoors and being to capture the full spectrum of light (or as much as possible) makes a huge difference.
It’s all about scale. In the beginning stay lean and nimble. Don’t let anything get in the way of making content quickly. Once you have a team, you can start getting into the bigger cameras. Don’t bite off more than you can chew.
There's something incredibly energizing about someone who gets this passionate and excited about something. I could listen to you get excited about chemex and lighting and details of anything for hours and feel like it was time well spent.
It'll be a contender in a few years when its internal NDs match the 10 stops canon offers and the AF is on par with how canon/sony AF isnat now in 2021, that and finally offering a fullframe body
@@sammymorales6838 Yes but anyone can easily crop on the sensor and go into the APS-C mode also Cinema APS-C is slightly larger horizontally than the normal APS-C this does allow me to get a wider shot to reframe later on in a full frame
SOLID points bro. Hence why I sold my scarlet. The perfect in between. Red. Komodo. Love this thing.....Yet a few months later, I still use my FX3 more hahaha. There is no winning.
Recently shot a project on Komodo, needless to say that image quality is great, but not practical at all to use, especially as a one man crew... Really Komodo was born to be a B-Camera for her bigger sisters at RED
Thanks for making this video, Pete! I was really discouraged because everyone keeps telling me that I cannot be a filmmaker because cinema cameras are really heavy (and I have back problems) BUT your video encourages me to continue with cinematography!
@@theroadnottakentravel Still pretty far off. There's no flexibility with smarphones and gopros. The look is different. Dynamic range is also insanely different. The smaller devices do have tricks like merging frames for hdr video, but with a ultra compressed 8 bit file, nothing you can do on it in post production.
Man, I've been thinking about this for years. The SLR game has stepped it up so much that it is just so hard to not lean toward them over a $25K dollar Red. Like you said, it all comes down to what your needs truly are.
That selling the “package” is a great point. I remember meeting a photographer who was doing H.S. senior portraits with these huge lights, that were old. I asked him why he doesn’t update to new light weight gear? He said the lights actually have no real bearing on the photos, I’m faxt he had a high power strobe that lit it all perfectly, but he sets up the big lights to give people that photoshoot feel and experience.
If ppl admit it or not if it looks really cool and important even if you know it does nothing you definitely feel differently than if there was nothing there
@@BrianZuma so true. Same thing is true for the food industry. I was on a Food Network show and Anne Burrell told us that studies showed people enjoyed food that was presented nicely, compared to same exact fold that wasn’t presented as nice. A good thing to remember, after all people are buying the experience as much as the results.
@@starnutron6147 As a professional, I have to say that I disagree. With technology at the stage it is, RED, Arri, and Blackmagic all produce amazing images that to an untrained eye are indistinguishable. Graded right, and using the same lenses, I doubt that the vast majority of even pros could tell the difference between any of them. Certainly if they could, the difference is so negligible that I wouldn't be worried by being forced to shoot a given project on any one of them. Edit: This applies primarily to the URSA Mini Pro and onwards, earlier Blackmagic cameras certainly had a number of issues that make them noticeably worse than a RED or Arri.
Sony is definitely creating some cinema camera competitors like the A7siii and especially the A1. I love how compact the tech is getting while also maintaining cinema quality!
For the past 6 years, I've shot all my TV spots on the Blackmagic 4.6k Ursa mini pro. Beautiful images! However, I'm very impressed with the Sony FX3 Cinema camera coupled with the Ronin-S gimbal. The auto focus is really smart and locks on the subject really well. The idea of eliminating the follow-focus guy is appealing. Sony's new focus tech is astounding.
I remember when I made a video for a client… I walked in with my iPhone 11 on a tripod with a mic clipped on top and a soft box…. And his words… is that your phone !? Haha imagine what he would if said with a red!!! 😂 at least he lived the final product haha
You’re right in some respect but even big companies see the value in smaller content. Film and content is produced in tiers and there’s ALWAYS room for that range of production value even in multi million dollar industry.
@ItsChrisVee totally agree, but I’m pretty sure the client has seen your profile. Sometimes your profile speaks for you, which is why even if you show up with you R6 on a Gimbal alone thy have no doubts due to the previous work of yours that thy saw.
Depends on the job requirements. I've worked with clients that have been brainwashed thinking they need cinemagrade cameras, even though the company I work for will be doing all the work for from pre to post production 🤦
So many excellent points! All of which I took into consideration when upgrading my gear. I struggled so hard between the Komodo and the C70 and most of your points really touched on why I ended up going with the C70. While it's labeled a "cinema" camera, it really fills the gap between a true cinema camera and a mirrorless. I love working with a crew but getting to do that is becoming increasingly rare in a world where clients want to pay less for more. Thanks for touching on all of these points.
Thanks for being you pete, been here for years; not going anywhere no matter what you put out brotha. Just listened to you on lew, just keep on doing the things that make you well you. Cheers mate. Fly the flag
I've run a video production company for 7 years and last year just decided that the A7Siii was pretty much all needed. It's a bit tricky on the audio side but I love the consistency from gimbal to tripod to track. And it's so damn portable.
I have moved my entire workflow over to the blackmagic 6k pro. I am really enjoying it. I would also say the Panasonic s1 is also killing it at the film making especially since you have Prores raw and b-raw support on those platforms.
Ive been working on the 4k for about 2 years now...just got a 6k about 4-5 months ago. Atem mini....it's a godsend for the money, having this rig alone
@@gatewoodsensei If it does support B-Raw it would be killer. That said. you will still need ND. I can tell you that one of my shoots had I not had ND I would have been screwed. I was shooting during the day at ISO 100 on a 75mm lens. Even stopped down t of16 my shutter speed was basically unusable. After adding 4 stops of nd I was able to get the shot I wanted.
This is Pete I subscribed to, many moons ago. This is what I am here. Keep THIS going man, because your style can be copied but not duplicated. Love the energy, speedy recovery.👍
This video pretty much cured me from wanting to upgrade (again). I already have a nice 4k full frame Canon and I'm just shooting my laundry room/"studio" making talking head education videos for UA-cam. It sounds like I already own what I need. Thank you, Peter.
The image quality/DR difference between an R5 and a Komodo is substantial, so yes definitely still worth having a cinema camera. But I love both of them. Different tools for different jobs
Would love to hear your thoughts on new “entry level” cinema cameras like the Canon C70 or Sony FX3 which are smaller and priced like pro photo cameras 😁
Regarding the FX3: Unless you really need the XLR inputs, unlimited recording (cooling) and the tally lights, you could also go for a A7SIII. Same insides, but cheaper and has a view finder.
Exactly, also a lot of people seem to forget about all the additional costs for all that is needed for a cinema camera. My R6 and my R are all I need from a UA-cam perspective!
@@Ed_Scott Not that easy tbh, since they seem to render colors a but differently. If I find the time, I will also use my colorchecker before shooting my footage, which helps a ton. Generally the R6 tends to render colors warmer and has a bit of a yellow tint (also red skintones), while the R tends to have a green cast to its footage. Nothing too crazy though. But it shows if not corrected for.
He says he would love to hear what we think. Really? 😀Do you even read these comments? But anyway, We come here because you're our inspiration, no matter what, we'll watch your videos ☺️🙏 LEGEND FOREVER!❤️
So glad you did this. I’ve been asking this for a year now. I’m no filmmaker but I’m obsessed with learning it. Companies are putting out smaller cinema style cameras everyday. And if you “just do UA-cam” there is zero reason to spend that money. Some one my favorite channels are still shooting in a freaking M50. And if they didn’t tell me, I wouldn’t notice the difference.
Some event is happening at your local park that your interested in. You say to your self I would like to film that. Turns up with that beastie red camera and a whole crew. Not intimidating much.
I'm a big low-budget guy in everything and I love it and enjoy it, to always make the best out of cheap stuff. But the footages you show are just incredible.
Yes, there is still a need for cinema cameras, but not the cinema cameras of even 2 years ago. Canon C70...Panasonic S1H...Canon EOS R5c. Those are examples of the cinema cameras of today and the near future.
I found myself in a similar situation a few years ago. Went from always carrying two Fuji bodies and 5-6 primes everywhere I went, to simply rocking an M10 + 50. That's it. It's compact. Battery lasts forever. It turns on instantly. And with a 128GB card, I can practically do an an entire weekend of travel photography without worrying about anything other than the body on my shoulder.
Cinema cameras will never be replaced, like you said that's already the difference when showing up with the client, own Dragon, Gemini, Canon EOS R, GH5, A7III, BMPCC4K, some more but still when I show up with RED it justifies the price difference. All other technical stuff well... you know them. Cheers brother, I love your videos.
As someone that shoots for an NFL team, I echo this sentiment. We shoot a lot with the Canon C700's, Arri Amira's and RED cameras, but just this spring we purchased a C70 and Ronin RS2 and that has quickly become the favorite camera to use around the shop. Every camera has it's place, I don't see myself shooting a football game on a R5, the Canon C700's and Arri Amira's are built specifically with that in mind but I do welcome the smaller and more compact options that are being released from manufactures like Canon and Sony.
I've shot a ton of projects on just a Sony A7III and had them come out great. However I will say, having shot with both cinema cameras and mirrorless/DSLRs, despite them being heavier I vastly prefer working with the cinema camera. There are certainly exceptions (using the a7 on a small gimbal in a tight space is sooooo much easier then a big rig), but like if I'm doing handheld work, I actually like the extra weight. It helps me steady up a bit and it's much easier for me to get a full solid grip on it. You can totally rig a photography camera out to work better, but something like a c300 or FX6 just sits so well in my hands in a way the a photo camera just doesn't.
yeah man.... this is not just a camera discussion! As a musician we are having the SAME discussion about our gear as well. It makes me happy to hear you share this discussion though about cameras, quality, end product, perception.... it means that those of us who are amateurs and are happy with the product we are creating with consumer level gear.... well we just got one more nod that it's all good. One more pro saying, "Keep at it!"
For real sometimes you gotta make your setup bigger to impress a client. I'll put my A7SIII and RS2 on a monopod with a mattebox just to make it look a tad more impressive but I still keep that run and gun style. I shoot exclusively dance videos so that's why I need run and gun lol
Completely agree. RED Komodo is a big step in that evolution. Smaller, affordable, can be mounted on a small gimbal. Yet still is a “cinema” camera. Cinema Cameras will just keep getting smaller/cheaper if they want to compete. Good for the consumer.
I agree with what Pete said! Especially with the content that we are consuming on UA-cam. It is impossible to tell any difference between 1080p or 4k or even 8k when you're viewing them on your phone. It is impossible to point any difference between like an A7C and Red. And the price difference is like 25x. It's amazing that people with no resources can still make almost equally produced videos without any gear. We live in an amazing time!
There's a MASSIVE difference between a7c and RED in scenes that put dynamic range to the test lol. It's not even close. If you're shooting youtube videos in studio, you likely won't see it. Shoot someone back lit outdoors and it will be brutally apparent
@@dna8269 agree but average viewer never notice on social media vids. Theres no use case for reds in social media. If you have $, go for a red hands down. If u dont, u dont need one.
Peter: "First: let's talk about price!" **never tells the actual price** hahahha good video sir! as always! Those cameras look insanely good, but as a youtuber, I would "never" consider buying one, the huge difference in price is a dealbreaker for me, plus I need portable/light/fast equipment. Thanks!
Peter, I want to thank you for inspiring my photography journey. I just booked my first paid gig, Aug 8, 39 person group family portrait. Thirty nine people! Fun. Thanks man
Awesome video Pete! I shot a short film as the DP a few months ago and I was shooting on my Panasonic GH5S. One of the producers was actually judging me pretty negatively for showing up with it because she was used to seeing Arri's and Red's on set. But because I had a lot of lights to work with (which I always prioritize first), she went from saying "Why are we shooting on this piece of shit camera?" to "Ohh....that piece of shit camera can do THAT?" Hahaha. To me cameras are so good nowadays that as long as you have good lighting and good lenses, you could make it look like a cinema camera. All about the person behind the camera, not the camera itself
As a guy who shoots a travel vlog (not super fancy because it's more informative on cool sites to see than visual wow factor), I really need something super simple to get up and shooting in a moment. I use a Sony A6000 and a Gopro 7 which do what I need. One day I'd like to make a starter movie and I plan to use the A6000 for that. All of this to say that as I see it, you keep the gear to do the job you need. I really enjoyed this video and really appreciate how you break things down into super practical information that I find helpful, entertaining and extremely visually appealing. Thank you Peter McKinnon
Wow, I really like how you make a "pure talking video" really entertaining - I really didn't realize, I had just spent 13 minutes until the end. Goood job!
I shoot with a Canon 5D Mark III. It's a more simple camera, but that's honestly all I need. I'm a minimalist, and my content comes out the way I want. I'm happy and proud with it.
It's a great video and question. To me it comes down to the client. Are they paying for high end cinema gear? If not, don't buy it. Buy what you are using most for the people that are paying you the most.
I agreed with you 100%. The majority of people watching do not care what camera was used, but how the story, audio, and emotion are translated to their experience in watching your film.
I have a Cinema camera I’m not even using anymore. Once I sell it I’ll just rent newer models for special projects ! 🤙🏻 Better to keep that money (or invest it) and get clients to pay for fancy cameras on projects if needed, super easy to rent these days.
I agree so much. Every time I have showed up to a client shoot with just a Sony a7iii setup they didn’t believe I could pull it off, but when Ever I used like an ursa cinema camera setup the client was over whelmed and super confident before I even started shooting. Great video Pete, you’re a big inspiration to mee 👊💯
I am working on an Olympic project and the client was impressed with the smaller kit, handheld stabilizer and Sony mirrorless, because they want to “go, go, go!” Time is money, their money!
Now I am using an a6100 for my simple food vlogs and amateur cinematic brolls, what I make for my youtube channel is totally enough for me for now. And in the future when the learning gets better and I get more important opportunities, I never saw myself getting a cinema camera rather a better mirrorless one.. BTW, love you sir!
When I did freelance webdesign (before a lot of the DIY website companies like SquareSpace existed), client perspective and expectation was often in sharp contrast with reality.
3 роки тому
sooooo true and i think you also lose focus… with a small setup you concentrate on the story, don't miss the moment and and focus on what is important 🙌🏽
In 2015 a feature film called Tangerine was shot with an iphone 5s and an app called filmic pro. It was shown at the Sundance film festival….and Magnolia Pictures bought it… so that goes to show you don’t need a cinema camera to create cinema. You just have to have a great story and the will to see it through to completion
Thanks for this video. This is something that was certainly on my mind the past few months. I bought a Canon EOS C100 last year - simply because it was what I could afford - with the goal of using it to make shorts and _maybe perhaps_ no-budget features, and I even used it for a few of my UA-cam videos. And as you mentioned, Peter, it's a lot of work with the setup and everything. But then about a month ago, I got the Canon EOS RP. An inexpensive foray into full frame? I figured, why not? And while the RP absolutely has its shortcomings, it's good enough for UA-cam, I think it might be good enough for short projects, but most important, it's shown me what's possible - and what might be to come. So I'm pumping the brakes on my cinema camera dreams for now (I was eyeing the C70 for a while) and I'm gonna see what happens in the world of full-frame mirrorless first. Because really, at the end of the day, it's not the camera that matters. It's all about the content you create with it. Thanks again, Peter. Cheers! ✊🏾
I'd say the gap is closing but also each side is finding their place for the job even better. Take the R5 and FX3 - these bodies can pull off some FANTASTIC looks at a fraction of the cost/rent. Like you said in your video, this opens resources elsewhere to achieve a lot more with a lot less spent on the camera brain itself. Lighting, support, glass, even more people on set! Cinema cams have a place but it need to fit the scope of the project. Forcing a RED in a small spot that is web only makes less sense these days than it used to. Great vids as always!
On youtube 720 to 1080 always works whatever your video project, for netflix, hulu, amazon prime video, they prefer 4k to 8k. Just depends of your camera and skills. Great topic Peter, I like this kind of topic. Because we all have different skills and experience. Sometimes it's not about the gear it's how you use it! much love from Phoenix peace!
Ok. This is a video for US. You got all this stuff and you know how to use them. PLEASE don’t ditch them. Make that high quality videography for us. We love that. Thx.
It’s why I think the C70 is the best of everything, super portable but still a cinema camera. I love using mine. Would love to see a review from Peter on the c70
you and i share absolutely same view on this topic .. being agile is what I want to be on set...I don't even use gimbals sometimes. I think knowing what you can do with your gear is more important than what a gear can do for you..
So true about clients, lol. Re cine cams. I use a fully rigged BMPCC 4K. I run it as a solo shooter and find it's a great compromise between hybrid and something like a Red. Small, light, cheap, quick (super quick start-up), easy, fun and great image. File sizes can be as big or small as you like. Post-production is a DREAM. Every now and then (not very often!) I still reach for the Sony-APSC though as it's sooooo light and easy!
When the Canon 5D Mark II got popular, a Hollywood Director invited 5 of his Director friends over to watch film clips he shot on "the usual" big budget video cameras, and he also mixed in footage shot on the Canon. They watched the clips in his home theater, and then he announced what he did. He asked them to tell him which clip was shot on the prosumer Canon 5d Mark II. They couldn't. That tells you all you need to know. The BMPCC 4K is hard to beat for the money, and you cannot tell by watching the feature shot on it (if lighting, framing, and movement is all the same) that it was shot on such a "budget" camera.
Is the gap closing?
Absolutely yes!🔥
Especially when pairing a camera with an external recording monitor. Unlimited record times lots of extra features!
the gap is closing fast.....FX3 and the 7SIII is doing even great options as the cinema cams are doing. Watched Amondo's FX3 set up and that was so sick already...So the choice is indeed in what you want to see and Mirrorless cams are doing the most these day...Love your work Pete, can't wait to see ur next go to cam...😁🤘🏽
Yes Sir 🙌
Yeah I think so ☝🏽 would still like a Red though 🤭
cinema cameras are for cinema shooting. imagine that :) when movie makes 100 millions, price of camera is not a big deal. real problem is when youtuber that have ton of money thinks that he needs red 8k camera and zeiss master primes lenses for room vlogs
lol the people that do that crack me up.
This.
@@chrisw5742 It's overkill, but it doesn't hurt.
True
Actually the majority of production studios rent
Two words: Dynamic Range. That is the reason that I continue to grab a cinema camera. I shoot a majority of my projects outdoors and being to capture the full spectrum of light (or as much as possible) makes a huge difference.
how many stops does it have?
Also 12-bit color is something I aspire to
Guys, not only that: built in nd filters, built in cooling system, xlr audio inputs, time code... etc. etc.
My c100 mark ii is 12 stops in log but I think a lot of mirrorless have that nowadays as well.
It may make a difference to you, a person who is into cameras, but the general population does not notice or care one single bit. Save your money.
It’s all about scale. In the beginning stay lean and nimble. Don’t let anything get in the way of making content quickly. Once you have a team, you can start getting into the bigger cameras. Don’t bite off more than you can chew.
There's something incredibly energizing about someone who gets this passionate and excited about something. I could listen to you get excited about chemex and lighting and details of anything for hours and feel like it was time well spent.
Watching from Uganda.. You're inspiring many here in my country.. It's your name they talk about 🇺🇬
gyebale ko ssebo
@@moseslatigoodida8465 kale ssebo.. nawe jyebale
Epic video! Would love to hear thoughts on Blackmagic 6k
I have a 4K with a nice lens and I love the look.
It'll be a contender in a few years when its internal NDs match the 10 stops canon offers and the AF is on par with how canon/sony AF isnat now in 2021, that and finally offering a fullframe body
@@Citizenflaba full frame bodies are overrated....most movies in history have been shot on Super 35
I am planning on the BlackMagic 6k too along with a Panasonic S5 and Fujifilm XT4
@@sammymorales6838 Yes but anyone can easily crop on the sensor and go into the APS-C mode also Cinema APS-C is slightly larger horizontally than the normal APS-C this does allow me to get a wider shot to reframe later on in a full frame
SOLID points bro. Hence why I sold my scarlet. The perfect in between. Red. Komodo. Love this thing.....Yet a few months later, I still use my FX3 more hahaha. There is no winning.
Recently shot a project on Komodo, needless to say that image quality is great, but not practical at all to use, especially as a one man crew... Really Komodo was born to be a B-Camera for her bigger sisters at RED
I think cinema cameras have a place... But they are becoming dinosaurs. Technology is moving quicker then they can keep up with.
@@bradleyc6564 couldn't agree more
I want an FX3 so badly but I'm destitute.
Thanks for making this video, Pete! I was really discouraged because everyone keeps telling me that I cannot be a filmmaker because cinema cameras are really heavy (and I have back problems) BUT your video encourages me to continue with cinematography!
Filmmaking is less about the camera, and more about the art.
This was a dope video, cinema cameras and mirrorless DSLR’s are closing the gap between each other
Very true
And iPhones/gopros are closing the cap between them and dslrs
@@theroadnottakentravel Still pretty far off. There's no flexibility with smarphones and gopros. The look is different. Dynamic range is also insanely different. The smaller devices do have tricks like merging frames for hdr video, but with a ultra compressed 8 bit file, nothing you can do on it in post production.
Man, I've been thinking about this for years. The SLR game has stepped it up so much that it is just so hard to not lean toward them over a $25K dollar Red. Like you said, it all comes down to what your needs truly are.
The right tool for the job. For people that need a cinema camera, its not a question.
That selling the “package” is a great point. I remember meeting a photographer who was doing H.S. senior portraits with these huge lights, that were old. I asked him why he doesn’t update to new light weight gear? He said the lights actually have no real bearing on the photos, I’m faxt he had a high power strobe that lit it all perfectly, but he sets up the big lights to give people that photoshoot feel and experience.
If ppl admit it or not if it looks really cool and important even if you know it does nothing you definitely feel differently than if there was nothing there
@@BrianZuma so true. Same thing is true for the food industry. I was on a Food Network show and Anne Burrell told us that studies showed people enjoyed food that was presented nicely, compared to same exact fold that wasn’t presented as nice. A good thing to remember, after all people are buying the experience as much as the results.
Peter: do you really need a RED camera for UA-cam?
MKBHD: *hold my beer*
At the end of the day it's content over video quality
Linus Tech Tips: Hold my 12K camera.
@@RockyLeong Those cameras were a clear step-back in image quality for the channel. K's are not everything... or even much of anything.
@@RockyLeong reds and arri alexas are much superior in quality than blackmajic
@@starnutron6147 As a professional, I have to say that I disagree. With technology at the stage it is, RED, Arri, and Blackmagic all produce amazing images that to an untrained eye are indistinguishable. Graded right, and using the same lenses, I doubt that the vast majority of even pros could tell the difference between any of them. Certainly if they could, the difference is so negligible that I wouldn't be worried by being forced to shoot a given project on any one of them.
Edit: This applies primarily to the URSA Mini Pro and onwards, earlier Blackmagic cameras certainly had a number of issues that make them noticeably worse than a RED or Arri.
Sony is definitely creating some cinema camera competitors like the A7siii and especially the A1. I love how compact the tech is getting while also maintaining cinema quality!
For the past 6 years, I've shot all my TV spots on the Blackmagic 4.6k Ursa mini pro. Beautiful images! However, I'm very impressed with the Sony FX3 Cinema camera coupled with the Ronin-S gimbal. The auto focus is really smart and locks on the subject really well. The idea of eliminating the follow-focus guy is appealing. Sony's new focus tech is astounding.
I remember when I made a video for a client… I walked in with my iPhone 11 on a tripod with a mic clipped on top and a soft box…. And his words… is that your phone !? Haha imagine what he would if said with a red!!! 😂 at least he lived the final product haha
I mean if the client doesn't pay you enough, why should you film it with a red camera. You did the right thing. Small budget? Okay just use my phone.
With some planning and editing both 11 and 12 iPhones can rock it.
My RED has sat on my shelf since December 2019. It's officially the most expensive paper weight ever. You nailed it on this one.
C70 seems like the good marriage of cinema and mirrorless tech.
@@dlovisuals that it is - once you get past the sensor crop the image it produces is beautiful 🤙🏼🤙🏼
@@richiedieckhoff 16-35 all day son
Sell that puppy!
@@BrendanEvan It's my baby.... but it may be time
It does present professionalism, especially to the corporates. I think if you work with big companies its vital to have those cinema cameras.
You’re right in some respect but even big companies see the value in smaller content. Film and content is produced in tiers and there’s ALWAYS room for that range of production value even in multi million dollar industry.
If it's a type of job that doesn't come around that often you'd be better off renting it for that shoot
@@garritgreen true, otherwise you will seat next to expansive gear that has taken a lot from you financially and yet returning drops.
@ItsChrisVee totally agree, but I’m pretty sure the client has seen your profile. Sometimes your profile speaks for you, which is why even if you show up with you R6 on a Gimbal alone thy have no doubts due to the previous work of yours that thy saw.
Depends on the job requirements. I've worked with clients that have been brainwashed thinking they need cinemagrade cameras, even though the company I work for will be doing all the work for from pre to post production 🤦
So many excellent points! All of which I took into consideration when upgrading my gear. I struggled so hard between the Komodo and the C70 and most of your points really touched on why I ended up going with the C70. While it's labeled a "cinema" camera, it really fills the gap between a true cinema camera and a mirrorless. I love working with a crew but getting to do that is becoming increasingly rare in a world where clients want to pay less for more. Thanks for touching on all of these points.
Thanks for being you pete, been here for years; not going anywhere no matter what you put out brotha. Just listened to you on lew, just keep on doing the things that make you well you. Cheers mate. Fly the flag
I've run a video production company for 7 years and last year just decided that the A7Siii was pretty much all needed.
It's a bit tricky on the audio side but I love the consistency from gimbal to tripod to track. And it's so damn portable.
I have moved my entire workflow over to the blackmagic 6k pro. I am really enjoying it. I would also say the Panasonic s1 is also killing it at the film making especially since you have Prores raw and b-raw support on those platforms.
Same here ! sold Ursa and scarlet :D
Ive been working on the 4k for about 2 years now...just got a 6k about 4-5 months ago. Atem mini....it's a godsend for the money, having this rig alone
Yeah that s1H is great. I’m wondering if the new gh6 will support b-raw too. I think I can live (kinda) without nd filters if that’s the case.
@@gatewoodsensei If it does support B-Raw it would be killer. That said. you will still need ND. I can tell you that one of my shoots had I not had ND I would have been screwed. I was shooting during the day at ISO 100 on a 75mm lens. Even stopped down t of16 my shutter speed was basically unusable. After adding 4 stops of nd I was able to get the shot I wanted.
@@photognate88 my bad! I meant internal nd filters.
4:47 ~frictionless~ Cody Ko and Peter McKinnon both making frictionless the Canadian adjective of choice
Scrolled the comments to see who also caught it 😂
@@stefankoen Same 🤣
must be some smart guys
I'm with you on mirrorless and gimbal and drone that's how I literally roll
Same here, better then an iPhone and osmo mobile.
Peter: "You've got brands like Canon, Sony, Fuji..."
Me (Nikon shooter): Well... =(
nobody ever mentions Panasonic :/
@@kaikayoru1316 And it is very good too.
@@kaikayoru1316 and most M43 users still forget about Olympus...
I am also a Nikon user.... And I felt the same😂😂👍
Nikon doesn’t count.
This is Pete I subscribed to, many moons ago. This is what I am here. Keep THIS going man, because your style can be copied but not duplicated. Love the energy, speedy recovery.👍
This video pretty much cured me from wanting to upgrade (again). I already have a nice 4k full frame Canon and I'm just shooting my laundry room/"studio" making talking head education videos for UA-cam. It sounds like I already own what I need. Thank you, Peter.
I would like to do something simular with my channel
The image quality/DR difference between an R5 and a Komodo is substantial, so yes definitely still worth having a cinema camera. But I love both of them. Different tools for different jobs
Well the r5 has one of the worst dynamic range out of most modern full frame mirrorless cameras (worst being the r6), not a very high bar to beat ;)
true I'm buying an fx6 lol I have a fx3 its great but I need internal NDs
Would love to hear your thoughts on new “entry level” cinema cameras like the Canon C70 or Sony FX3 which are smaller and priced like pro photo cameras 😁
Don't expect him to make a video on a sony video...
@@srijonmondal8842 I’ve been following him for a while now. Sony doesn’t exist in his world
C70 it’s a pro and fx3 more cool I guess.
Those are $4K cameras. Entry level cinema cameras are Zcam and black magic
Regarding the FX3: Unless you really need the XLR inputs, unlimited recording (cooling) and the tally lights, you could also go for a A7SIII. Same insides, but cheaper and has a view finder.
From a youtuber’s stand point I would never need a cinema camera. My R6 is amazing for what I got goin on!
Exactly, also a lot of people seem to forget about all the additional costs for all that is needed for a cinema camera. My R6 and my R are all I need from a UA-cam perspective!
@@ElBoyoElectronico this is my setup now that I got my R6!!!! How is it matching the footage from both cameras?
@@Ed_Scott Not that easy tbh, since they seem to render colors a but differently. If I find the time, I will also use my colorchecker before shooting my footage, which helps a ton. Generally the R6 tends to render colors warmer and has a bit of a yellow tint (also red skintones), while the R tends to have a green cast to its footage. Nothing too crazy though. But it shows if not corrected for.
@@ElBoyoElectronico appreciate the response. Some definite food for thought as I start this journey.
He says he would love to hear what we think. Really? 😀Do you even read these comments? But anyway, We come here because you're our inspiration, no matter what, we'll watch your videos ☺️🙏 LEGEND FOREVER!❤️
So glad you did this. I’ve been asking this for a year now. I’m no filmmaker but I’m obsessed with learning it. Companies are putting out smaller cinema style cameras everyday. And if you “just do UA-cam” there is zero reason to spend that money. Some one my favorite channels are still shooting in a freaking M50. And if they didn’t tell me, I wouldn’t notice the difference.
I remember I turned up with a Canon M50 and Zhiyun Crane M2 and the client was like oh.......IS THAT IT!?? .......AWE THATS SO CUTE 😂
Some event is happening at your local park that your interested in. You say to your self I would like to film that. Turns up with that beastie red camera and a whole crew. Not intimidating much.
I'm a big low-budget guy in everything and I love it and enjoy it, to always make the best out of cheap stuff. But the footages you show are just incredible.
Z Cam is an awesome and “affordable” option for cinema cams for anyone who is interested in starting a rig 🎥
I love rewatching your videos whenever I’m in a slump and need to get my motivation back.. . Thanks dude
Yes, there is still a need for cinema cameras, but not the cinema cameras of even 2 years ago. Canon C70...Panasonic S1H...Canon EOS R5c. Those are examples of the cinema cameras of today and the near future.
I found myself in a similar situation a few years ago. Went from always carrying two Fuji bodies and 5-6 primes everywhere I went, to simply rocking an M10 + 50. That's it. It's compact. Battery lasts forever. It turns on instantly. And with a 128GB card, I can practically do an an entire weekend of travel photography without worrying about anything other than the body on my shoulder.
They’re not pointless, but they’re getting more niche…
Cinema cameras will never be replaced, like you said that's already the difference when showing up with the client, own Dragon, Gemini, Canon EOS R, GH5, A7III, BMPCC4K, some more but still when I show up with RED it justifies the price difference. All other technical stuff well... you know them. Cheers brother, I love your videos.
What does Peter McKinnon think about Black magic pocket cinema cameras?
Yeah, curious aswel!
same, I would love to hear his take on Black Magic
I was having this thought right as I saw this comment. What does PM think of BM?
Love that you are still pursuing some D’Avella simplicity! So pumped for you, can’t wait to see how your speed and creativity will grow.
For a person that has worked in the film industry for 20+ years, I can totally say this is 100% accurate.
As someone that shoots for an NFL team, I echo this sentiment. We shoot a lot with the Canon C700's, Arri Amira's and RED cameras, but just this spring we purchased a C70 and Ronin RS2 and that has quickly become the favorite camera to use around the shop. Every camera has it's place, I don't see myself shooting a football game on a R5, the Canon C700's and Arri Amira's are built specifically with that in mind but I do welcome the smaller and more compact options that are being released from manufactures like Canon and Sony.
I've shot a ton of projects on just a Sony A7III and had them come out great.
However I will say, having shot with both cinema cameras and mirrorless/DSLRs, despite them being heavier I vastly prefer working with the cinema camera. There are certainly exceptions (using the a7 on a small gimbal in a tight space is sooooo much easier then a big rig), but like if I'm doing handheld work, I actually like the extra weight. It helps me steady up a bit and it's much easier for me to get a full solid grip on it.
You can totally rig a photography camera out to work better, but something like a c300 or FX6 just sits so well in my hands in a way the a photo camera just doesn't.
yeah man.... this is not just a camera discussion! As a musician we are having the SAME discussion about our gear as well. It makes me happy to hear you share this discussion though about cameras, quality, end product, perception.... it means that those of us who are amateurs and are happy with the product we are creating with consumer level gear.... well we just got one more nod that it's all good. One more pro saying, "Keep at it!"
For real sometimes you gotta make your setup bigger to impress a client. I'll put my A7SIII and RS2 on a monopod with a mattebox just to make it look a tad more impressive but I still keep that run and gun style. I shoot exclusively dance videos so that's why I need run and gun lol
Completely agree. RED Komodo is a big step in that evolution. Smaller, affordable, can be mounted on a small gimbal. Yet still is a “cinema” camera. Cinema Cameras will just keep getting smaller/cheaper if they want to compete. Good for the consumer.
Great content 👏🏾🔥
I agree with what Pete said! Especially with the content that we are consuming on UA-cam. It is impossible to tell any difference between 1080p or 4k or even 8k when you're viewing them on your phone.
It is impossible to point any difference between like an A7C and Red. And the price difference is like 25x.
It's amazing that people with no resources can still make almost equally produced videos without any gear. We live in an amazing time!
Agree, majority viewers are watching on their phones + 4k, 8k does not mattrr and no one notices
There's a MASSIVE difference between a7c and RED in scenes that put dynamic range to the test lol. It's not even close. If you're shooting youtube videos in studio, you likely won't see it. Shoot someone back lit outdoors and it will be brutally apparent
@@dna8269 agree but average viewer never notice on social media vids. Theres no use case for reds in social media. If you have $, go for a red hands down. If u dont, u dont need one.
Peter: "First: let's talk about price!" **never tells the actual price**
hahahha good video sir! as always! Those cameras look insanely good, but as a youtuber, I would "never" consider buying one, the huge difference in price is a dealbreaker for me, plus I need portable/light/fast equipment. Thanks!
Peter, I want to thank you for inspiring my photography journey. I just booked my first paid gig, Aug 8, 39 person group family portrait. Thirty nine people! Fun. Thanks man
Awesome video Pete! I shot a short film as the DP a few months ago and I was shooting on my Panasonic GH5S. One of the producers was actually judging me pretty negatively for showing up with it because she was used to seeing Arri's and Red's on set. But because I had a lot of lights to work with (which I always prioritize first), she went from saying "Why are we shooting on this piece of shit camera?" to "Ohh....that piece of shit camera can do THAT?" Hahaha. To me cameras are so good nowadays that as long as you have good lighting and good lenses, you could make it look like a cinema camera. All about the person behind the camera, not the camera itself
As a guy who shoots a travel vlog (not super fancy because it's more informative on cool sites to see than visual wow factor), I really need something super simple to get up and shooting in a moment. I use a Sony A6000 and a Gopro 7 which do what I need. One day I'd like to make a starter movie and I plan to use the A6000 for that. All of this to say that as I see it, you keep the gear to do the job you need. I really enjoyed this video and really appreciate how you break things down into super practical information that I find helpful, entertaining and extremely visually appealing. Thank you Peter McKinnon
Hi Peter - funny, was just watching reviews on cinema cameras as finally got a big client and got money to buy my first cinema camera!
the question is are you gonna buy it?
As an owner of both Fujifilm's X-H1 and X-T3 cameras, I applaud you for giving recognition. Thanks Peter!
Here’s how you work out if you should buy or even rent a cinema camera
If you’re wondering, then don’t.
Wow, I really like how you make a "pure talking video" really entertaining - I really didn't realize, I had just spent 13 minutes until the end. Goood job!
5:30 that was my life when I tried to be filmmaker lol
Lol try showing up to a wedding with the baby Fuji f2 lenses. A lot of side-eyeing going on
Probably one of your best videos. Every aspiring film maker should watch this. Awesome stuff!
Did Pete just recognised the quality of Fujifilm cameras?😍
We have him referring to Peter McKinnon in the third person, ladies and gents.
I’m honestly impressed with what someone can do with just a drone alone.
I shoot with a Canon 5D Mark III. It's a more simple camera, but that's honestly all I need. I'm a minimalist, and my content comes out the way I want. I'm happy and proud with it.
I prefer to watch creators using equipment that is available to the average person.......If that makes sense.
After I got my R5 July 29, 2020, I stopped yearning for an ARRI Alexa and Cooke lenses and started creating. It’s been liberating.
It's a great video and question. To me it comes down to the client. Are they paying for high end cinema gear? If not, don't buy it. Buy what you are using most for the people that are paying you the most.
Wake up babe, a new Peter McKinnon Video
Using a RED 8K with a Canon EF lens on it is like killing a fly with a shotgun. It's not just about the camera, it's the optics!
That definitely struck a cord! It’s like a Rolls Royce with Ford rims! I hate seeing photography lenses on Reds
I agreed with you 100%. The majority of people watching do not care what camera was used, but how the story, audio, and emotion are translated to their experience in watching your film.
I have a Cinema camera I’m not even using anymore. Once I sell it I’ll just rent newer models for special projects ! 🤙🏻 Better to keep that money (or invest it) and get clients to pay for fancy cameras on projects if needed, super easy to rent these days.
I'll give you a grand for it.
Or u can just rent it out to other people
@@tyrongeorgetown6378 True..
Blackmagic! Love this stuff. Bridging the gap between Cinema and DSLRs (or mirrorless)
He’s attempting to be partial. NO. The answer is big income, big camera.
I agree so much. Every time I have showed up to a client shoot with just a Sony a7iii setup they didn’t believe I could pull it off, but when Ever I used like an ursa cinema camera setup the client was over whelmed and super confident before I even started shooting. Great video Pete, you’re a big inspiration to mee 👊💯
Just bought a Canon C70 today. There’s always room for quality in the ocean of low level mediocrity out there!
I am working on an Olympic project and the client was impressed with the smaller kit, handheld stabilizer and Sony mirrorless, because they want to “go, go, go!” Time is money, their money!
Ignoring quality, what shots can a cinema camera do that the modern day mirrorless can't? Story is everything.
Now I am using an a6100 for my simple food vlogs and amateur cinematic brolls, what I make for my youtube channel is totally enough for me for now. And in the future when the learning gets better and I get more important opportunities, I never saw myself getting a cinema camera rather a better mirrorless one..
BTW, love you sir!
Thanks for always advising what is practical with your videos peter! Hope to start my photography journey soon
The value and quality of your videos is just incredible! btw what happened to the PFFWHATS UP?
When I did freelance webdesign (before a lot of the DIY website companies like SquareSpace existed), client perspective and expectation was often in sharp contrast with reality.
sooooo true and i think you also lose focus… with a small setup you concentrate on the story, don't miss the moment and and focus on what is important 🙌🏽
Wow perfect timing as ever Pete. Touched my first cinema cam TODAY and had these questions. Keep up the great work.
In 2015 a feature film called Tangerine was shot with an iphone 5s and an app called filmic pro. It was shown at the Sundance film festival….and Magnolia Pictures bought it… so that goes to show you don’t need a cinema camera to create cinema. You just have to have a great story and the will to see it through to completion
Dude I love the minimalistic style! This video really has me thinking about what I actually need!
Thanks for this video. This is something that was certainly on my mind the past few months. I bought a Canon EOS C100 last year - simply because it was what I could afford - with the goal of using it to make shorts and _maybe perhaps_ no-budget features, and I even used it for a few of my UA-cam videos. And as you mentioned, Peter, it's a lot of work with the setup and everything. But then about a month ago, I got the Canon EOS RP. An inexpensive foray into full frame? I figured, why not? And while the RP absolutely has its shortcomings, it's good enough for UA-cam, I think it might be good enough for short projects, but most important, it's shown me what's possible - and what might be to come. So I'm pumping the brakes on my cinema camera dreams for now (I was eyeing the C70 for a while) and I'm gonna see what happens in the world of full-frame mirrorless first. Because really, at the end of the day, it's not the camera that matters. It's all about the content you create with it. Thanks again, Peter. Cheers! ✊🏾
I'd say the gap is closing but also each side is finding their place for the job even better.
Take the R5 and FX3 - these bodies can pull off some FANTASTIC looks at a fraction of the cost/rent. Like you said in your video, this opens resources elsewhere to achieve a lot more with a lot less spent on the camera brain itself. Lighting, support, glass, even more people on set!
Cinema cams have a place but it need to fit the scope of the project. Forcing a RED in a small spot that is web only makes less sense these days than it used to.
Great vids as always!
No matter what camera type-brand-pack you have-own-use, the story is the king!!!
I'm not even looking for a new camera, but oooof the video is already over...
Really enjoying listening you talk Peter!
As someone about to move from consumer to prosumer - this was amazing.
On youtube 720 to 1080 always works whatever your video project, for netflix, hulu, amazon prime video, they prefer 4k to 8k. Just depends of your camera and skills. Great topic Peter, I like this kind of topic. Because we all have different skills and experience. Sometimes it's not about the gear it's how you use it! much love from Phoenix peace!
I totally agree with all of this, hence why I have rebranded my filmmaking business to Tactical Filmmakers! "Run & Gun Style"
Ok. This is a video for US.
You got all this stuff and you know how to use them. PLEASE don’t ditch them. Make that high quality videography for us. We love that.
Thx.
It’s why I think the C70 is the best of everything, super portable but still a cinema camera. I love using mine. Would love to see a review from Peter on the c70
I think he is working on it. but I don't think it will come because it's already out for a few months
Really interesting vid peter ! Love that format
Thanks for the push, having tons of fun taking photos 🍻
Been waiting 4 this Pete!! good one..nice listening to you talk on clubhouse 😀
you and i share absolutely same view on this topic .. being agile is what I want to be on set...I don't even use gimbals sometimes. I think knowing what you can do with your gear is more important than what a gear can do for you..
So true about clients, lol.
Re cine cams. I use a fully rigged BMPCC 4K. I run it as a solo shooter and find it's a great compromise between hybrid and something like a Red. Small, light, cheap, quick (super quick start-up), easy, fun and great image. File sizes can be as big or small as you like. Post-production is a DREAM. Every now and then (not very often!) I still reach for the Sony-APSC though as it's sooooo light and easy!
When the Canon 5D Mark II got popular, a Hollywood Director invited 5 of his Director friends over to watch film clips he shot on "the usual" big budget video cameras, and he also mixed in footage shot on the Canon. They watched the clips in his home theater, and then he announced what he did. He asked them to tell him which clip was shot on the prosumer Canon 5d Mark II. They couldn't. That tells you all you need to know. The BMPCC 4K is hard to beat for the money, and you cannot tell by watching the feature shot on it (if lighting, framing, and movement is all the same) that it was shot on such a "budget" camera.