10:30 Sorry man but it's not the 2000s anymore. "Made In China" doesn't mean anything nowadays, it's about quality or not. It's hard to hear you saying that like that as well if you get what I mean ;) Take care
Bought the whole set of this lens due to the reviews. Regretted it, the color shift is more than 200-300 pts in terms of white balance, but what's worst is their bokeh, though there's not much onion ringing, their bokeh is so dirty, looks like it has cancer. But really depends on what you're shooting, if you're shooting outdoors with no bokeh balls, then you'll be fine. As always, YMMV.
Finally, a channel that does reviews but actually uses the products in production not just random kid making RU-vid videos in a cool little over lit office. 👏🏼🙌🏼
Any way to adapt those PL variants to EF with some of the available adapters? Or is their rear end just not fitting with those adapters? Would love to use those on my Ursa mini EF!
@@yvesbernas1772 The correct answer is: In the majority of cases it will not work. The rear of the lens will collide with the inner parts of the lens mount or sensor cover glass stack. On some cameras it can work, but it will always be a tight fit and can change from lens to lens. One focal length might work with some minimal clearance, but e.g. a wider lens will not. The only way to see if it works with your combination is as follows: get VERY accurate measurements (diameters and depths) inside the lens mount AND of the lens segments, that will sit inside the mount.
Wanting to get the NiSi Athena as well. It really bothers me that those mounts that has drop-in filters would be such a hassle that you won't be able to use the PL mount smoothly just because of the rear-end hits the drop-ins. I hope NiSi makes a specific mount for the Athenas for PL mount specifically that could also compensate its rear-end being able to use a mount that could allow drop-ins.
I guess most video productions these days can't escape Chinese brands anyway. DJI, Aputure, DZO, Nisi, Laowa, Vazen... just to name a few, and even that purple adapter you are using are also made by a Chinese company. But, I guess what you were really trying to say is that having that imprinted on the lens body reduces production value for the average clients. That's a perception very difficult to change, at least in the geopolitical context the world is in today :(
The movement of the back lens element when focusing is definitely something to consider with these lenses. I don't own them, but have considered picking up a set and was doing some research when I came across Phil Holland's instagram post about that issue. The Breakthrough Filters DFM RF to PL does have clearance for these lenses. But the KipperTie Strata, Revolva and RED eND RF to PL do not. Also it seems from your experience the MoFage adapter does not. Unfortunate, since the Breakthrough is so expensive, when looking for options for behind the lens filter solutions.
Excellent Tutorial ... The entire color management conversation can be sooo complicated. You made it easy!! I've watched this tutorial 3 times and each time I learn something new, or get a deeper understanding. Keep up the great work and keep inspiring!!
Love the breakdown! I'm curious your thoughts on keying from the near side as opposed to the far side of the face. You almost never see people keying from the near side like you did here. This looks good because the light is high enough to still maintain some shadow, especially with the hat. But it's a unique choice and 'breaks the rules' so to speak. Was that decision intentional or did it just work out that way? Also, 100% agree 16:04 - So many people share videos in LOG or LOG that has been ever so slightly altered. There is one specific TV show I won't mention that airs episodes of their show in a nearly LOG profile. Drives me nuts.
Galin, Lighting from the key-side was definitely intentional. We do typically shoot shadow-side. But on this we wanted the lighting to be less dramatic and more light and airy, but still show the vibe of the room we were in. A great way for us to do that was to shoot from the key-side. We went with something close to Loop Lighting for the key, and that still gave us that shadow and depth you always want to see in a good lighting setup, and it kept us from having a flat, non-dynamic look. The whole conversation around LOG is a huge pet peeve of ours, and we really had to restrain ourselves when it came up during the recording haha!! Glad we're not alone!
