I have a Minolta MD 58/1.2 that I use on my S5ii, that lens is amazing wide open-but it’s easy to over-use excessive bokeh. I enjoyed this more technical video, thank you.
@@Joe_VanCleave I totally agree with you, that’s why I find myself shooting around F8 most of the time. Especially when there’s a lot in the distance behind me, there’s plenty of blurred background, and when it comes to dealing with light and creating Bokeh, I find myself staying between F4 and F8, unless I really want to create some kind of effect, and then I might go wide open, but it’s always with a lot of intention. And thanks so much, I’m not really a technically minded artist, but I do have plenty of nerd in me. :-) I did do some beta testing for some pro audio in my former life in the music business. :-)
@@mylesvpolk I think your combination is actually a lot more common. Probably more flexible too, but with 28mm, at least for me personally, I get less distortion if I get close to somebody’s face then I do with the 24. But in reality, it’s pretty much the same. :-)
@@mylesvpolk I didn’t even realize how different it was until I used a 24mm lens, and when you get close to the lens with your face or anybody else’s face, there’s actually a pretty big difference. I think that’s what I like most about 28. And actually, 24 is way wider, which obviously is a huge advantage sometimes. But at least for the work that I do, 28 is wide enough for me 99.9% of the time. My 35 mm APSC anamorphic lens is wide enough for me generally, so I’m not against getting far away to get a wide perspective. :-) Some people just don’t wanna move. ;)
I'm going to go out on a limb here and say that photographers generally prefer the 24 and 85mm combo, and cinematographers prefer the 28 and 50mm combo. The reason being that a still frame don't move, so photographers can get away with a 24mm, while a cinematograph will have a much harder time keeping the recording "clean" from unwanted objects. 85mm also feels weird for video, but is instantly recognized for stills portrait shoot. If someone would force me to just use one lens for both video and photography for the rest of my life it would be the "boring" 35mm. Not really good at anything, and thereby the jack of all trades, but king at none.
@@PH-0046 I think this is a perfect assessment of focal lengths, and it’s funny. You are the second person who talked about 35 mm in their comment, and I was in the process of making a video about 35 mm. I have a Minolta 35 mm Rokkor lens, that I love, but I just don’t love 35 mm because as you said, it’s kind of eh… ;) what is it really good for? The answer is everything. Lol In any case, I think the point is to minimize what you have to think about that takes away from thinking about the actual story.
@@RockWILK !edit! putting this on top for readability: I think we might just be onto something great regarding 35mm anamorphic on full frame, here tested with S5II: th-cam.com/video/a_b2PyYwS9w/w-d-xo.htmlsi=alArKUAjYsjv8kbe and here the same 35mm lens on a Sony, the lens looks awesome (and rental price for a weekend should be cheap if one wants to go the anamorphic route) th-cam.com/video/j9G2l5ryJZY/w-d-xo.htmlsi=45kxP_bToMWYyeof Totally agree, and maybe (i haven't tried it) a 35mm full frame anamorphic 1.33x lens could be more attractive than a regular 35mm - now you got that 28mm wide feel for doing establishing shots, but also a bit of that 50mm compression that the 28mm lacks, for the talking heads part. So that could be a "do it all lens" for photography and videography. Still not as good as a 50mm, but as close as one could get with only one lens "glued to the camera for ever". Maybe you should do a 35mm lens video, - a hymn to the unpopular but mighty 35mm 🙂 - Seems that your technical videos are getting good viewing rates. 👍
@@PH-0046 oh, I’ve been working on this 35mm video for a while on and off. I’m using my Minolta Rokkor 35mm vintage lens, but I also have this Sirui 35mm APSC anamorphic lens. So I’m gonna use both of them for that video. I try not to pay attention to the metrics on these videos, because every time I do it just shows me that I have no idea what I’m doing or how it all works. :-) I just post what I enjoy, and what I feel compelled to share, and let the universe provide after that. Thanks so much for all the feedback and the good advice, and onward we go!
@@DanFarrar my pleasure, and I pretty much never use my camera without a variable ND on my lens. Aside from controlling the exposure, I just like what it does to the image also. I just can’t stand an overly sharp image, the ND makes it a bit more “cinematic“. :-) I hate that term, but it’s true. :-)
The face/body tracking is so good on the S9 I can autofocus at any aperture and it will seldom miss focus (for stills) I am a run n gunner for sure Rock lol. Someone should let Hollywood know there is no such thing as tele compression lol. Cropping isn’t the same thing IMO.
@@sauzefilms honestly, that’s the only way a camera on any phone looks good to me. I find that you pretty much always have to use some kind of filter with a phone. I shot an entire feature on a phone, and it looks incredible, and I had a variable ND, and a CPL on it most of the time.
@@DanFarrar the S9 sounds amazing to me. I don’t like that you’re limited to such a short amount of time to shoot video, but I guess it’s rare to shoot longer clips than that for a feature film anyway. But for documentaries and things like that, it might be an issue. I just never feel like I’m missing out on anything just manually focusing, but I guess we get used to what we get used to. :-) And yes, cropping has nothing to do with choosing a good focal length and creating an image with the right aperture. But cropping is OK sometimes. :-)
Thanks for sharing your experiences with these lenses. I was able to get a used LUMIX 50mm f1.8 for $250 at B&H. I got it ahead of my S5ii, which should arrive in a few days. I've found some used LUMIX 24mm f1.8 for around $500. What I've seen demonstrated with the LUMIX prime lenses is that they have very little focus breathing. Which for filmmaking is great. So, if I ever have to rack focus in a shot, I shouldn't see that telltale zooming effect you see in some lenses. Personally, I try to find lenses that aren't the same price as many cameras. When I see lenses that cost as much as a camera, I kind of shy away from them. I find lenses that are dramatically cheaper more often than not still have very good image quality in what they can capture. I'm also looking for a 35mm lens as well. I think with 24mm, 35mm and 50mm prime lenses I would have pretty good flexibility in most filmmaking scenarios.
@@AllThingsFilm1 if you can find a Minolta Rokkor 35 mm lens, it has very little focus breathing, if any. But of course it’s a totally manual vintage lens. And I agree with you, it’s so easy to find inexpensive lenses that can give you beautiful image quality. But I also understand that people know how important glass is, as opposed to a camera body, so I kind of get people spending more money on lenses, especially anamorphic lenses. But having said that, my Sirui anamorphics were so inexpensive because I found them on sale, and so there’s always a way to not spend all of your money on your gear. :-) I’m always trying to spend the bulk of my money on anybody who might be collaborating with me, to honor their contribution, and maybe for locations as well.
@@RockWILK I had a SIRUI anamorphic lens for my FX30. Which I sold to MPB along with other lenses to cover the S5ii and 50mm. I am planning on getting an anamorphic lens for my S5ii. There's a brand that gives you two choices for the anamorphic flare. Either the "natural" flare or the blue flare. I want to get the natural flare because it matches the lighting more readily. I think the blue flare is good for sci-fi movies. I'm looking at some deals now for the Minolta Rokkor 35mm lens. I don't mind manual lenses at all. I have a wireless focus system I've been using on multiple cameras I've owned. LUMIX is coming out with the new LUMIX Lab app, which will be compatible with all S cameras. In the meantime, I can use the LUMIX Sync app with the S5ii. I have a cage for my iPhone, so I can attach my wireless focus wheel to the cage and use the app to monitor focus and exposure. Which will be great for any manual focus lens or when I switch to MF.
@@AllThingsFilm1 honestly the blue flare never seems invasive to me when I use my anamorphic lenses, it just looks like what it looks like. I guess I'm used to all kinds of crazy colors coming out of my vintage lenses, it just doesn't stand out to me at all. I just love the image quality of the lens. Good luck on finding a 35 mm, there are a lot of them out there, I know you'll find something soon. I paid $75 for mine, but it had some issues, but fortunately I have somebody who works on my gear for me who I trust, so he was able to fix a problem with the focus ring, and it's like a brand new lens now. Rokkor lenses are so good!! Minolta all the way for me. Sounds like you have a great setup for your autofocus no matter what kind of lens you have, and I'm sure it's really exciting waiting for that S5iix. I'm sure you're going to make some amazing art with it!!
@@RockWILK Thanks. I hope to create real art with the S5ii. I'm going to work hard on keeping the S5ii busy and share everything from my tests to my creative content. Thanks for your support, and your work. Your content and films have sparked new life into my artist's journey. For that I am forever grateful.
@@BarryMaskell I totally agree. I was actually going to make a video about that as well. :-) Thanks so much for the comment and for coming through, I really appreciate that.
Thanks, Rock. I'm gonna pull out some old lenses today and mess around with that method. Question, were you using any polarizers in this video? Cheers.
I honestly don’t know why 50mm is considered the standard, to me 28mm feels normal to what I see, and 50mm is almost like an indoors telephoto. Outdoors I use 200-800(mft) and 28.
@@dasaen I totally agree. I never felt comfortable running around with just a 50 mm lens. It just feels way too restrictive. But I guess it’s good exercise to get what you want with a 50 mm, but you really gotta be willing to run around and figure it out. 28 mm feels so much more flexible, and on the wide end without most of that distortion that most wide angle lenses have. Thanks so much for coming through, I greatly appreciate that.
@@imagenatura it always amazes me that everyone seems to start with a 50 mm lens, because the narrative is that that is the most flexible focal length, but I think 28 mm, or maybe even 35 mm would be a much better place to begin for anybody.Much more flexibility in my opinion. Thanks so much for coming through, I really appreciate that.
@@RockWILK Nowadays, I think I'm ok with a 35mm and a telephoto zoom for maximum flexibility. Inside, take the 35mm; outside, the telephoto (with the 35mm in the bag).
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I have a Minolta MD 58/1.2 that I use on my S5ii, that lens is amazing wide open-but it’s easy to over-use excessive bokeh. I enjoyed this more technical video, thank you.
@@Joe_VanCleave I totally agree with you, that’s why I find myself shooting around F8 most of the time. Especially when there’s a lot in the distance behind me, there’s plenty of blurred background, and when it comes to dealing with light and creating Bokeh, I find myself staying between F4 and F8, unless I really want to create some kind of effect, and then I might go wide open, but it’s always with a lot of intention. And thanks so much, I’m not really a technically minded artist, but I do have plenty of nerd in me. :-) I did do some beta testing for some pro audio in my former life in the music business. :-)
I agree. I personally like a 24mm and 50mm combo.
@@mylesvpolk I think your combination is actually a lot more common. Probably more flexible too, but with 28mm, at least for me personally, I get less distortion if I get close to somebody’s face then I do with the 24. But in reality, it’s pretty much the same. :-)
@@RockWILK I'll have to play with a 28mm down the line. I would prefer less distortion sometimes.
@@mylesvpolk I didn’t even realize how different it was until I used a 24mm lens, and when you get close to the lens with your face or anybody else’s face, there’s actually a pretty big difference. I think that’s what I like most about 28. And actually, 24 is way wider, which obviously is a huge advantage sometimes. But at least for the work that I do, 28 is wide enough for me 99.9% of the time. My 35 mm APSC anamorphic lens is wide enough for me generally, so I’m not against getting far away to get a wide perspective. :-) Some people just don’t wanna move. ;)
I'm going to go out on a limb here and say that photographers generally prefer the 24 and 85mm combo, and cinematographers prefer the 28 and 50mm combo. The reason being that a still frame don't move, so photographers can get away with a 24mm, while a cinematograph will have a much harder time keeping the recording "clean" from unwanted objects. 85mm also feels weird for video, but is instantly recognized for stills portrait shoot. If someone would force me to just use one lens for both video and photography for the rest of my life it would be the "boring" 35mm. Not really good at anything, and thereby the jack of all trades, but king at none.
@@PH-0046 I think this is a perfect assessment of focal lengths, and it’s funny. You are the second person who talked about 35 mm in their comment, and I was in the process of making a video about 35 mm. I have a Minolta 35 mm Rokkor lens, that I love, but I just don’t love 35 mm because as you said, it’s kind of eh… ;) what is it really good for? The answer is everything. Lol In any case, I think the point is to minimize what you have to think about that takes away from thinking about the actual story.
@@RockWILK
!edit! putting this on top for readability: I think we might just be onto something great regarding 35mm anamorphic on full frame, here tested with S5II:
th-cam.com/video/a_b2PyYwS9w/w-d-xo.htmlsi=alArKUAjYsjv8kbe
and here the same 35mm lens on a Sony, the lens looks awesome (and rental price for a weekend should be cheap if one wants to go the anamorphic route)
th-cam.com/video/j9G2l5ryJZY/w-d-xo.htmlsi=45kxP_bToMWYyeof
Totally agree, and maybe (i haven't tried it) a 35mm full frame anamorphic 1.33x lens could be more attractive than a regular 35mm - now you got that 28mm wide feel for doing establishing shots, but also a bit of that 50mm compression that the 28mm lacks, for the talking heads part. So that could be a "do it all lens" for photography and videography. Still not as good as a 50mm, but as close as one could get with only one lens "glued to the camera for ever". Maybe you should do a 35mm lens video, - a hymn to the unpopular but mighty 35mm 🙂 - Seems that your technical videos are getting good viewing rates. 👍
@@PH-0046 oh, I’ve been working on this 35mm video for a while on and off. I’m using my Minolta Rokkor 35mm vintage lens, but I also have this Sirui 35mm APSC anamorphic lens. So I’m gonna use both of them for that video. I try not to pay attention to the metrics on these videos, because every time I do it just shows me that I have no idea what I’m doing or how it all works. :-) I just post what I enjoy, and what I feel compelled to share, and let the universe provide after that. Thanks so much for all the feedback and the good advice, and onward we go!
A lot of valuable info here 😁
@@CabralCreates 🙏🎥
Thanks for the tip on blurring background to create an emphasis to the message. Variable NDs make life so much easier ✌️
@@DanFarrar my pleasure, and I pretty much never use my camera without a variable ND on my lens. Aside from controlling the exposure, I just like what it does to the image also. I just can’t stand an overly sharp image, the ND makes it a bit more “cinematic“. :-) I hate that term, but it’s true. :-)
The face/body tracking is so good on the S9 I can autofocus at any aperture and it will seldom miss focus (for stills) I am a run n gunner for sure Rock lol. Someone should let Hollywood know there is no such thing as tele compression lol. Cropping isn’t the same thing IMO.
My VND is almost permanently attached to my iPhone’s cinema cage for that sweet 180-degree shutter rule and i cant control much of the aperture lol
@@sauzefilms honestly, that’s the only way a camera on any phone looks good to me. I find that you pretty much always have to use some kind of filter with a phone. I shot an entire feature on a phone, and it looks incredible, and I had a variable ND, and a CPL on it most of the time.
@@DanFarrar the S9 sounds amazing to me. I don’t like that you’re limited to such a short amount of time to shoot video, but I guess it’s rare to shoot longer clips than that for a feature film anyway. But for documentaries and things like that, it might be an issue. I just never feel like I’m missing out on anything just manually focusing, but I guess we get used to what we get used to. :-) And yes, cropping has nothing to do with choosing a good focal length and creating an image with the right aperture. But cropping is OK sometimes. :-)
Thanks for sharing your experiences with these lenses. I was able to get a used LUMIX 50mm f1.8 for $250 at B&H. I got it ahead of my S5ii, which should arrive in a few days. I've found some used LUMIX 24mm f1.8 for around $500. What I've seen demonstrated with the LUMIX prime lenses is that they have very little focus breathing. Which for filmmaking is great. So, if I ever have to rack focus in a shot, I shouldn't see that telltale zooming effect you see in some lenses.
Personally, I try to find lenses that aren't the same price as many cameras. When I see lenses that cost as much as a camera, I kind of shy away from them. I find lenses that are dramatically cheaper more often than not still have very good image quality in what they can capture. I'm also looking for a 35mm lens as well. I think with 24mm, 35mm and 50mm prime lenses I would have pretty good flexibility in most filmmaking scenarios.
@@AllThingsFilm1 if you can find a Minolta Rokkor 35 mm lens, it has very little focus breathing, if any. But of course it’s a totally manual vintage lens. And I agree with you, it’s so easy to find inexpensive lenses that can give you beautiful image quality. But I also understand that people know how important glass is, as opposed to a camera body, so I kind of get people spending more money on lenses, especially anamorphic lenses. But having said that, my Sirui anamorphics were so inexpensive because I found them on sale, and so there’s always a way to not spend all of your money on your gear. :-) I’m always trying to spend the bulk of my money on anybody who might be collaborating with me, to honor their contribution, and maybe for locations as well.
@@RockWILK I had a SIRUI anamorphic lens for my FX30. Which I sold to MPB along with other lenses to cover the S5ii and 50mm. I am planning on getting an anamorphic lens for my S5ii. There's a brand that gives you two choices for the anamorphic flare. Either the "natural" flare or the blue flare. I want to get the natural flare because it matches the lighting more readily. I think the blue flare is good for sci-fi movies.
I'm looking at some deals now for the Minolta Rokkor 35mm lens. I don't mind manual lenses at all. I have a wireless focus system I've been using on multiple cameras I've owned.
LUMIX is coming out with the new LUMIX Lab app, which will be compatible with all S cameras. In the meantime, I can use the LUMIX Sync app with the S5ii. I have a cage for my iPhone, so I can attach my wireless focus wheel to the cage and use the app to monitor focus and exposure. Which will be great for any manual focus lens or when I switch to MF.
@@AllThingsFilm1 honestly the blue flare never seems invasive to me when I use my anamorphic lenses, it just looks like what it looks like. I guess I'm used to all kinds of crazy colors coming out of my vintage lenses, it just doesn't stand out to me at all. I just love the image quality of the lens.
Good luck on finding a 35 mm, there are a lot of them out there, I know you'll find something soon. I paid $75 for mine, but it had some issues, but fortunately I have somebody who works on my gear for me who I trust, so he was able to fix a problem with the focus ring, and it's like a brand new lens now. Rokkor lenses are so good!! Minolta all the way for me.
Sounds like you have a great setup for your autofocus no matter what kind of lens you have, and I'm sure it's really exciting waiting for that S5iix. I'm sure you're going to make some amazing art with it!!
@@RockWILK Thanks. I hope to create real art with the S5ii. I'm going to work hard on keeping the S5ii busy and share everything from my tests to my creative content. Thanks for your support, and your work. Your content and films have sparked new life into my artist's journey. For that I am forever grateful.
@@AllThingsFilm1 My honor. 🙏❤️
35mm is a great all rounder
@@BarryMaskell I totally agree. I was actually going to make a video about that as well. :-) Thanks so much for the comment and for coming through, I really appreciate that.
Thanks, Rock. I'm gonna pull out some old lenses today and mess around with that method. Question, were you using any polarizers in this video? Cheers.
@@VFXRefugee no polarizers at all. Just a variable ND filter. Good luck with the lenses! They are amazing.
I honestly don’t know why 50mm is considered the standard, to me 28mm feels normal to what I see, and 50mm is almost like an indoors telephoto. Outdoors I use 200-800(mft) and 28.
@@dasaen I totally agree. I never felt comfortable running around with just a 50 mm lens. It just feels way too restrictive. But I guess it’s good exercise to get what you want with a 50 mm, but you really gotta be willing to run around and figure it out. 28 mm feels so much more flexible, and on the wide end without most of that distortion that most wide angle lenses have. Thanks so much for coming through, I greatly appreciate that.
Is that 28 and 50 in full frame or 28 and 50 in super 35 tho
28 and 50 full frame. I use the Panasonic S5. The original. Thanks for coming through. I appreciate that.
I have so many 50mm lenses (5, I think) it's not even funny. Personally, I wish I had a 28mm as it's my favorite focal length of all.
@@imagenatura it always amazes me that everyone seems to start with a 50 mm lens, because the narrative is that that is the most flexible focal length, but I think 28 mm, or maybe even 35 mm would be a much better place to begin for anybody.Much more flexibility in my opinion. Thanks so much for coming through, I really appreciate that.
@@RockWILK Nowadays, I think I'm ok with a 35mm and a telephoto zoom for maximum flexibility. Inside, take the 35mm; outside, the telephoto (with the 35mm in the bag).
@@imagenatura Perfect. Everything covered.