this is so good to hear Karl! so glad to have been a part of your journey, congrats

I second this on every account! Good job man :)

Excellent! 😂👌🏻

Thanks for being here all that time! Congrats, so happy to hear you’re doing it :)

thanks for being here for so long

❤️

Thanks Blake, I’m glad you came across the vids again :)

I'm so happy to hear this, thanks for saying so :)

@@DSLRguide ❤

Thanks Jason :)

Fair, the S5 is undeniably good value for anyone shooting RAW anamorphic :)

I've a question, the new BMPCC full frame released yesterday has two modes, 6048 x 4032 (Open Gate 3:2) at full resolution and 4838 x 4032 (Anamorphic 6:5), so for Sirui 1.6x Anamorphic, which one is better option, can we shoot in full res open gate and de squeeze or should shoot in the 6:5 only, can you explain the differences, Thanks

​@@decimalWeb1.6x definitely!

and u forced to shot in 1080 if u wanna use 60fps

This is precisely what I was thinking.

100%. I’d rather shoot 1080p in 10Bit than 4:2:0 8Bit again.

Fair point! Now I might have to investigate the difference between 10bit 422 and 8 bit 420 and make a video about my findings ;)

@@DSLRguide 8Bit 4:2:0 is completely fine as a display format but you really don’t wanna do more than the most basic color correction with it. Another factor is that it’s often coupled with a lower bitrate compression meaning the images fall apart even sooner. With all the 10Bit 4:2:2 it’s really important to mention that you also need less compressed codec so the image doesn’t fall apart. All-I is truly the way to go. Also check out Steve Yedlin‘s demos it you haven’t already. The Display Prep demo is more philosophical and the Resolution Demo is really mind blowing.

hold on to it for as long as you can!

Just moved on from my T6i 😭 used it for all of my jobs for years. before that I had a T3.

thanks man! Lets do it, any plans to go to IBC in Amsterdam?

Haha love that. the Z6 is great, not that it’s better than others, just that all cameras are pretty good these days

exactly :)

Are u shooting full frame in R6 or 16:9 Also share some insights on crop in post.

SLR magic optically has a ton of character even if they have a ton of flaws. It really does give that traditional CinemaScope flavor we love.

@@wkghrs I think their 2x lenses and their fully anamorphic lenses are pretty trashy. Especially after they changed it to the green coating and getting rid of blue flares. But that 1.33 50 really looks great. Especially in the T2 to T4 range.

nice :) I’d trade my Z6 for a S5 if I could find someone willing to trade haha ;)

@@DSLRguide that’s a tough one. 😉

You must be severely math challenged. How's it that it's a steal with a 1k price tag if you have to use an Atmos on top of it lmao. Add the camera and the Ninja, you're looking at almost 2k price tag.

I m agree.

Correction. It is 444, not 422.

@@charliemcgrain 4444

Yes 4444. @@pedroblancou

thanks for being here all this time :)

Thanks Christo

Perfect example of where cropping your 16:9 in post would be a great solution! You can use any of your preferred frame rates, codecs etc from the impressive a7siii, without needing a whole extra camera just for anamorphic :)

Movies like The Creator and all these anamorphics coming out of China and Japan that are E mount are all going to help us Sony people. I could see the next S model shooting 3:2.

@@iceman10129 I hope so. That would be one of the only reasons I’d upgrade and if they added global shutter from the A9

1.5x and up is good, 1.33x is just about spherical

Is the GH6 much different than the Gh5 when it comes to sensor size?

I would’ve mentioned the gh5s

Haha I had braces when I started this channel 10yrs ago! Thanks Mike :)

because the 4k cdng mode is pixel binned/line skipped, not a full sensor readout like the s series, and if you want a compressed 10bit option or log unfortunetly there isn't one yet.

I think it’s more expensive than the S5mki and the Sony a7s :)

Fair point Chris, and as they get cheaper and cheaper, it’s only going to happen more often, so we should be mindful of that :)

@@DSLRguide Ya, don't get me wrong. If its just a matter of affordability, sure I would have a set. If I had a need. The anamorphic lens thing reminds me a lot of the DSLR days where everyone was preaching FF Fast Lens for shallowest DoF as the holy grail of things. Then ironically enough when you look into the Professional Film Industry (Movies) the average FStop is f5.6. So you get all the KZfaqrs preaching f1.8 or lower is the way to go, but the stuff you actually see on TV is mostly 'slower'. I think a lot of KZfaqrs abuse the fastest lens. People buy on trends, those trends become traditions, and those beliefs are hard to break. Those breaking them, the true creative types, use tools to make better stories. They don't constrain themselves to just one tool or method. That's not creativity. And the tools don't make the story, just sells it better.

I havn't tested it, but I don't see how anamorphic lenses increase rolling shutter, can you explain your thought process?

@@DSLRguide so imagine your normal rolling shutter sensor, the readout speed is how long it takes to read each horizontal line from top to bottom. I want you to imagine a straight vertical line, a 1 dimensional line. When you pan the camera there will be a horizontal displacement from the top of the frame to the bottom of the frame as a result of this rolling shutter sensor. The slower the readout the bigger the displacement would be the worse the rolling shutter displacement would be. Now imagine adding an anamorphic lens and doing the same pan, the vertical line being one dimensional will have the same amount of horizontal displacement from top to bottom before desqueezing since the sensor will have the same readout. Once you desqueeze the horizontal displacement will be worse with the desqueeze. Now if you pan slower you could mitigate it somewhat but keep in mind the a7s2 has a rolling shutter measurement of 30.4ms. it is one of the worst in terms of rolling shutter performance in 4k. Moderate pans will show a lot of jello. Forget ever shooting out of a moving vehicle even without an anamorphic lens. And if using an anamorphic lens it would make an already poor performance outright abysmal. The Panasonic s5 on the other hand has the aps crop 4:3 which has a much better readout at sub 15ms so that when an anamorphic lens is placed the performance wouldn't be too bad. If you want the outright best anamorphic rolling shutter performance, going with an a7s3 or a Fuji xh2s is your best bet. The open gate recording in the Fuji is very close to the field of view of the academy 35 4 perf film and has a readout of sub 6ms in open gate mode in anything except FLOG 2. In FLOG 2 the rolling shutter goes up to 11ms which is still great for an open gate recording especially considering you only need a 1.6x to get a 2.4:1 aspect ratio. The a7s3 has a rolling shutter performance of 8ms in 16:9 4k mode. A7s3 doesn't have an open gate mode. If you want to get rid of rolling shutter entirely the red komodo or the zcam s6g are the only options under 6k. I shoot out of moving vehicles a lot that's why I care about rolling shutter personally. But if you never pan or have any fast motion it shouldn't matter.

Louie, how about an R6?

@@jamesbonaiii3278 not as bad but still pretty bad. R6 mark ii has the new sensor with faster readout.

That’s an excellent price, nicely done!

For APS-C, the process is exactly the same, you'll just need to use wider lenses & expect a deeper depth of field than the 'gold standard' I was chasing in this video, since the sensor size after cropping will be smaller than opengate Super35

I used it for years without log (neutral picture profile), then got a ninja a couple years ago and have been shooting log mostly since. Now the ninja has broken and I’m considering going back to 8bit internal haha

Nice! I’d love to see a grading breakdown of the 8 bit neutral footage! Have you tried Nikon FLAT too? Also if you want 10 bit you should consider the Atomos ninja star. Small enough that it doesn’t add a lot of weight but you can keep the 10 bit log. Battery lasts forever too. Set z6 record setting to 4k and HDMI output to 1080p and it can output an oversampled 1080p image to the ninja star, all in 10 bit LOG. I have both the star and ninja v and love the star for its small compact size.

just saw this comment, thanks for the idea!

do you shoot in neutral with the contrast and saturation at 0?

sure, but it's also more expensive than a S5ii if you have to buy the ninja :)

Haha I thought I was saving people from buying new cameras but I was actually encouraging to buy new lenses ooops

​@@DSLRguidelmao

There could be a few things happening here, but I’d removing any filters or accessories on the front of the lens to improve the dark corners, and if that doesn’t help, you can use “clear image zoom” to crop the edges in camera. As for the jello effect, I’d consider turning off IBIS and any other stabilisation you might be using in Premiere

yes, that's right - cropping in post. Plenty of monitors have an option to scale up the display so you can have a larger image without applying tape, but if not, tape would be a good temporary solution :)

Great, thx for the reply. When you say scaling on the monitor, wouldn’t that crop out the top and bottom (which you don’t want)? Or can you scale on x axis only? Which monitors can you do this with? I have a ninja v but don’t think it can do this :) Again thx for so much for the help!!:)

there's two types of scaling, first is 'desqueezing' which would need to be a horizontal only, and most monitors these days have this (portkeys, feelworld etc) but some of them will also let you zoom in as well, after the desqueeze has already happened. This means you don't need tape. I don't think portkeys displays can do it, but I'm pretty sure smallHD can, and possibly feelworld too. Not aware of a way to do it with the ninja V, but I think it can put a digital marker on the sides so you don't have to use tape

thanks for commenting Damien :) I agree that larger sensors will show more of the character at the edges of the frame, but if open gate 4:3 was good enough for most shots in Bladerunner, and all the movies recently shot on the OG Alexa with 4:3 S35 sensor, it’s good enough for me on a tight budget!

@@DSLRguide oh. Weren’t you talking about 16:9 sensors and cropping off the sides?

(just saw this comment, apologies for the late reply) Number one issue with the BMPCC6K is the EF mount, not many options there for anamorphic lenses. I'm pretty sure the BMPCC6K would have less barrel distortion than a Sony Full Frame camera with the edges cropped in post. If my maths is correct, a 16:9 S35 a sensor, after desqueezing and cropping to a standard anamorphic aspect ratio would have a smaller image circle / FOV than than the 4:3 S35 sensor I've "created" by trimming the edges of a 16:9 full frame sensor.

Wym, they do have ef lenses

3840 * 0.84 gives us 3,225 horizontal pixels :)

@@DSLRguide Thanks Simon! Am a fan and following you since the beginnings! 🙌

still smaller than the A7sii after cropping

the sirui's won't, but the Great Joy's could work with an EF-MFT adapter

@@DSLRguide Thank you for the reply and info!

that's right

Fair, i think im going to do a deep dive on 8bit vs 10bit, I have a sense that it’s worth paying a little more for, but I havnt done much side-by-side to prove it! Paying an extra $200 for the S5 over the a7sii would make sense for anyone less frugal than me haha

​@@DSLRguide If you do end up doing a deep dive, it might be quite interesting to see a 8 bit vs 10 bit vs 12 bit comparison. Blackmagic cameras can record 12 bit, for example. Extra 200 USD is definitely a bit of a bummer, but since you do use anamorphic glass which isn't cheap itself, it's not that big a jump. Plus the option to shoot handheld while using anamorphic glass is a blessing unique to the Lumix line :)

the sensor is too small to match our 'gold standard' of 4:3 super 35 film

that's a great deal! for me, log is a luxury not a need

still a smaller sensor than open gate Super35 :)

that's true if your comparison point is open gate full frame. However, if you're using Super 35 anamorphic lenses (while cropping fullframe 16:9 to S35 4:3) then you'll only crop out the vignetting, and retain all the character at the edges.

Sure, they do the cropping in-camera, but because they aren’t full frame, it’s kinda like the GH4, it’s a smaller sensor area than open gate super35 film

And since anamorphic lenses are universally manual lenses, the autofocus performance is irrelevant in this context.

@@thelefthandofcreation1617 i said that cuz he mentioned that a7sii have a good auto focus

@@AbdelhamidBoukhatemi Ah, my bad - yeah, Sony has definitely dramatically improved on that front from that generation of camera for sure

Can do, I would imagine that the Bokeh won’t be noticeable in 95% of shots due to the small sensor on the iPhone, but it’ll definitely give you the widescreen aspect ratio & anamorphic flares :)

link in the description :)

if you look really closely in this video, you'll see an EOS-M in the background. working on a video ;)

Did you have a bad experience?

@@DSLRguide Sadly I did and it was enough to stop me renting my gear out using their service

still a very capable camera, just not the cheapest camera for recreating Super35 anamorphic film

Maybe “cinematic standard” would be a better phrase - it’s so common in cinema, which means for me as a frugal individual, it’s good enough for me, whereas imax would be overkill

@@DSLRguide No what I mean is that certainly not all films we see in cinema use shallow DoF all that often. Sorry, I should have made that a bit clearer instead of daftly asking a nebulous question, haha