High impact imagery designed to move- move people, move companies, move ideas. Hurricane Images Inc. is an Oakland-based video production and photography company that creates powerful, compelling video and still imagery for companies and individuals. We help our clients merge marketing goals and media production. Over the past decade, we’ve garnered multiple awards and taken nearly a hundred projects from concept to final product.
Can’t agree with you more on the cables that should be included with this and similar devices. I burned through $100 on small angled cables to get my rig set up as neat as possible. Sure I was able to return the cables I didn’t need, but the process is a PIA when these companies could include a proper sized and orientated cable with the equipment. It would save allot of time and expense. Even taking into account the enjoyment of rig building, some products should give you a bit of help in this area.
love this review - I'm photographer of 30 years, strobe / studio / location / etc... and newer to videography - after starting off my videography journey, I see how much more technical it is and difficult- thought there are plenty of cross over skills that have been useful. If I could go back and start fresh, I would have placed learning audio, and subsequently what types of mics to use for each situation, way higher on my skill check off sheet. I was using some PicoGear lav mics for over a year and then an MKE600 - which sounded not so good indoors - and then I learned about this style of mic and have been shopping for about 3-months for an affordable mic and this was on my list. The fact that you do this for a living added all the weight I needed to make my decision to give this mic a try - thanks so much for this video, and especially the elongated un-processed access to the audio file - wonderful review.
Respectfully, your review is pointless. You did nothing but compare specs that you read online. You, again, respectfully made the same exact mistake that everyone else continues to make, and that is concluding that a certain camera is better simply because of its capabilities. I shot a 3-hour feature film on the Sony fs100 that you wouldn't believe it was shot on that. Lightning, sound, angles, editing, acting, etc. have to be on point. If you wish to see a sample of my work, I can provide it as evidence.
I remember when DSLR's first started to capture video. Vincent Laforet's promo for Canon (technically the second DSLR to capture video, though they wanted us to believe it was the first) was brilliant. The message was, "see what you can do with our new $3,000 camera!" Canon, of course, didn't mention the $40K in lights, stabilizers, actors, and crew that made it watchable. Yes, you can produce amazing results with less capable cameras combined with more capable support... but that doesn't mean you should perform a tooth extraction with a screwdriver and salad tong. Our tools do matter to some extent, and eventually they lead to greater forms of creativity. My video was meant to reframe the discussion somewhat, dissect what separates an "exceptional" cinema camera from simply a capable tool, and hopefully inspire those with similar cameras to post their footage and thoughts. After 120 or so comments on the vid, I'm a little disappointed no one has written-- "yeah, here's my Red up against the Sony," but also pleasantly surprised at the amount of interest in re-thinking what makes a cinema camera today.
Your video saved me money. I’ve been shooting with my a1. It made me not buy the fx9. Your movie. I never need a variable ND. You also put that forward to me. Thank you. This a1 I have. Is the perfect camera. Full frame 8k. Thanks for the thoughtful message in your video. Gear. It’s a bunch of bullshit
For all those fellow flute and woodwind players out there.. if you can not afford a Neumann KM 184, this is the best microphone you can get (provided you use correct positioning). Trust me, I have been there. After buying (and returning some) SM 57/58, Beta 57a, V7, V7x, NT1A, NT1, NT5, Oktava MK012, ... This sounds by far the best on a flute (and probably other woodwinds).
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I was aghast when I saw the 4K 10bit has moiré artefacts, This is still a £4000 camera in the UK. The RX1ii had a variable OLPF around NINE years ago, and yet they're releasing top of the range cameras with no OLPF still. Madness...
It's worth noting that the SE8's capsule is on the big side for a "small-diameter" mic. This comes with advantages and drawbacks, and it's important to understand both. On the plus side larger capsules tend to have lower self-noise, and that's reflected in the SE8's specs. The only small-diaphragm condensers (SDC) that I know of that bests it in that department is the Sennheiser 8000 series, but those cost 3-4x more. IMO this alone explains the 2 dB noise improvement relative to the Rode NT55. On the plus side larger diaphragm hurts pattern uniformity across frequencies. At high frequencies (8 kHz and above) the diaphragm diameter becomes significant relative to the audio signal's wavelength, and that causes the pattern to "collapse" with reduced off-axis response at high frequencies. The SE8's polar diagrams show that it does so more than smaller-diaphragm SDCs, but less than large-diaphragm mics. It's all a tradeoff. I think that like all SE products the SE8 is a very competently-executed mic, but I don't think that it offers better value than, say, the NT55. It just makes a different tradeoff between on-axis noise and performance and off-axis pattern uniformity. I think that it could be very useful for somebody who only has one cardioid mic, since it's something of a "split the difference" option.
This is a double motor unit; the motors are identical. You connect the bottom one normally, and use the bracket to place the top one on its side. The version that you're referring to is simply a single motor version of this.
At the end of this video, you mentioned "acquiring" (stealing? LOL) the 50 version, and that you you might do a review of it. I'm debating between the 40 and 50 and so, looked for your review. Didn't find it. Did it happen? If not, care to make any comments about the differences? Thank you. Len
Len! Yeah, this one was so extensive I didn't have the energy to tackle the 50, especially since they're very very similar. The 50 is bulkier, which makes it slightly more cumbersome; and I'm not sure the autofocus (with an autofocus lens) is as snappy. Those are the negatives. On the positive side, it's also a hair sharper-- though I didn't do the extensive testing required to know which lenses it works best with-- and instead of neon blue flare it has a yellow flare that is equally sharp (and slightly green). It's slightly more "natural" than the blue, but only by a little. The 50 is bigger, but it doesn't work with wider lenses than the 40... they both tap out around 40mm. So in the end I can't recommend one over the other. I prefer the 40 for run and gun work, but might choose the 50 for more "planned" shoots. Hope that helps.
Thanks for your very quick reply. Your reply was the answer I needed. Planned shoot? Rarely works out that way. Extra weight? Already carrying too much. Best wishes.
You didn't just say that Arri and RED only look better because they have specific LUTS did you? Sorry but you are wrong and colorist in Hollywood will tell you that when they have to match A1 vs Arri vs Komodo footage. Colorist don;t just throw a special LUT on their footage and that's they do. That would also mean that you are saying that only RED and Arri are getting the most out of their cameras because of the special LUT. If that was tru Sony would do the same-thing and Sony A1 would look as good as RED and Arri.
Nope, I didn't. If we're talking about the same section, I'm referring to color science, which is how the cameras interpret color and luminous data from their sensors.
@@hurricaneimagesmedia You said that Arri and Red look better because they have a LUT made to match that sensor. If that was the case then Sony would make a custom LUT that made their image look superior. Arri and RED have deep rich color in the mid tones and shadows. When you grade properly this is what you get. If you don't want that look Red and Arri images can be raised without dark shadows and you still get a rich color full image. You are also wrong because colorist usually don't use RED or Arri LUTS because they open up the footage and use scopes and other tools to get the look they want. Most You Tubers don't know how to color grade and know what a proper image should or could look like.
@@contentm3893 Hi content3893, sorry that wasn't what I was trying to communicate (communication in short form is hard). A LUT applies specific color and luminosity values to captured footage; color science applies specific color and luminosity values to data from the sensor-- a step earlier. But they're essentially the same. Sony does have a custom LUT... as do Arri and Red... we simply call it a "color space transform node" in Davinci Resolve. But it operates exactly the same as what people consider a "LUT." Sony also has S Cinetone and other color profiles... or ways of interpreting the color and luminosity data from the sensor. Every pro colorist I know utilizes the color space transform node (usually with their own tweaks later in the chain, plus actual color grading which is entirely different from color correction), and in doing so they apply a "LUT" to footage; you can achieve the same look manually by adjust the contrast, saturation, and pivot points (more or less). Sony cameras look different than Nikon cameras, even when the Nikon model uses a Sony sensor because Nikon uses its own color science. a LUT is different from color science in that it happens after the footage leaves the camera. Why does Arri and Red footage look better? Well, it's debatable that it does. After all, Hollywood blockbusters are shot on the Sony Venice as well, and the cost of the camera in a Hollywood budget is miniscule.
Man let's grade that footage correctly. Check the pipeline and use the Pro Res RAW in another program. Dynamic range data from each camera doesn't tell the whole story. Compare some grade footage. You can only tell what a cameras dynamic range is doing if you compare side by side footage.
18:51 I haven't seen it in any of the documentation from Sony, but I see it again here. Sony A1 in Slog3 has dual native ISO - 800 and 4000. If you use Cinetone on the Sony A1 the dual gain ISOs demand a lot more light as they are 125 and 640.
You’re the best reviewer I’ve come across lately… wow, so much knowledge unpacked with such ease and clarity. You will one day have a million subscribers 🙏🏾💯 and well deserved 👏🏾
Waiting for the reveal at the end where you disclose that you used it through your whole video. I can hear some artifacting... There it is. :-) Still, seems like great tech.
It’s all about image circle. A 645 medium format lens has a larger image circle than dedicated TS lenses which has a bigger image circle than standard 35mm lens. The canon/Nikon TS lens have a 67mm image circle. The Pentax/Mamiya 645 lens has a 80mm image circle. A 6x7 lens even more. There really isnt much point in putting a 35mm lens on a TS adapter unless it has a smaller APS sensor. You can stitch x2 35mm medium format frames together which increases field of view to 17mm and turns a 24mp image to a 50mp image. Winner! If you use a medium format lens the Kipon TS adapter has 15mm shift as 10mm is not taking advantage of the entire lens
Yes. I had a GFX medium format camera (44mm x 33mm sensor) and bought a Samyang 24mm TS (Canon clone), mostly for the tilt with landscapes. (GFX has very thin DOF.). I sold the GFX and now have an X-T5 (crop sensor, 40MP). Kept the Samyang lens and use it very happily on the X-T5, mostly for panoramas. Gives me a field of view of ca. 13mm (= 19 mm full frame equiv), with no pano distortion. Plus I can still use the tilt if needed.
I feel like you made this review for me. I shoot nikon on a sony a7iii 😂. I too have a large collection of vintage lenses. I've recently found myself doing more and more architecture work and found i need a tiltshift lens. The de-click on apature is an absolute game changer. Currently a nice feature on the k&f adapters with canon fd lenses. But to be able to use any of my Nikon lenes as a tilt shift and then a de-click lens for video all for $200 is a steal.
That's been my feeling, too. I will say that the aperture ring is very narrow, and with what would be usually considered a nice amount of friction is difficult to adjust on the fly if you're planning on pulling aperture while filming.
I think the camera you are talking about is pronounced "Air-EE", short for Arriflex. It's a small point but I thought you might want to know. Great video by the way, thanks.
Actually its correct pronunciation is in german, as "ARRI" is an abbreviation for "Arnold & Richter", the two founders of the company. So from a language perspective would someone from scotland saying ARRI, be the best approximation of the correct pronunciation in english.
