So, if I buy a Atlas Orion ... I get PAID for shooting music videos ... instead of shooting them for free? Did I get that right? I guess I will have to hold off on that downpayment for my Tesla?
what I don't like about this lenses is the inconsistency in size and dimensions, they should be the same size and have the same focal ring position that way you could fast swap them from your follow focus and not adjust anything
Your advice on picking the 35 and 75 mm versions was my thinking too. Thanks for ALL of the great product reviews past and future. Best wished and Happy Solstice.
I just wish their set is more... mount consistent. Only 3 out of 4 lenses are on the X-mount. It's weird that they engineered them so inconsistently. I'm salty. Very salty.
I agree. As a dual Pocket 4K owner who also owns a Fuji XT-4, all I would need is to buy the X mount kits and have the option to use my set on both cameras.
As much as I like you and most of your previous content it’s hard to believe that you like these lenses. The x1.33 surely makes these an anamorphic non starter for most and I just couldn’t see anything vaguely anamorphic about the shots here even with the 75mm that would be useful in creating that look. Maybe I have missed it but I don’t see why anyone in love with the anamorphic “look” would consider these. If anyone has footage to show the contrary I would love to see it. Thx again for your time and work. Always appreciated.
I don't think you should bash them so much because you also need to factor in the cost. I also don't think that you should say this so hard, because they do indeed look anamorphic to me.
If anyone is considering a 1.33x anamorphic lens for MFT, I would highly recommend first trying an SLR Magic 1.33x adapter that can even cover 20mm on a MFT camera/lens. In any case, a simple streak filter can replicate any anamorphic qualities these lenses offer.
I have the 35mm for my GH5 and love it. I'd would say if you're shooting mft, then 24mm might be worth getting to get the standard fov. Sometimes even the 35mm can be a little tight on the vertical side imo.
I hope they will make a version 2 or something of the 50mm to match the rest of the lenses. It is strange that they didn't make them colour consistent between the first and the rest.
I bet these would pair really nicely with my BMPCC4K. Been watching them for a while. It's so cool that a company is pushing the price envelope in a space that is dominated by 'You will pay this price because we know you can afford it' price tags.
@@AJ_UK_LIVE I has an A7s before this (I still do) and the codec and color science is a massive leap forward. I'm sure the A7s III has improved the color science (codec still lags) but that's almost 3 times the price. I love how almost straight out of the box you're already hitting those skin tones really well.
Is the focal length of the lens true to image, or is the crop factor of MFT and APS-c sensors still need to be considered for these lens? For example, does the 24mm on a MFT sensor roughly equal 48mm?
I started with the 50mm 😁 However, I love the 50mm look, so the blue cast is not big deal to me since I shoot in BRAW and the software does a fine job of fixing any color correction in Premiere and Resolve. They are great lenses to be sure and look to shoot with them. They are currently my favorite lens to use on my BM4K. I really would have liked to have a focus ring though 😡
I just ordered a couple. They are on sale for really cheap right now. I was debating the 24 and 50, or the 35 and 75. Ultimately chose 35 and 75. Hopefully I chose wisely. If I were to choose only one, I think it would be the 50. Still want to get the others eventually, but I'll start out with two and see if I need the others. And for the record, I think you pronounce "bokeh" CORRECTLY.
MFT has a crop factor of 2.0x, so in the end those lens are 48, 70, 100 and 150 mm. And the 1.33x vertical anamorphic smear is to weak. I don't care about "blue line", I need wider angles.
I have the Z Cam E2-S6 which has a Super 35 sensor (1.4x) and these lenses look awesome in my camera. You get even wider and it cover the while sensor (with only the 24mm having some slight vignetting but that still feels Anamorphic). And I have them all on M43 because my Cam has a Locking M43 mount do they're super secured
It was the First lens they made so there was no other lens to compare it to. It just had a cool tone to it. Every lens after was made to be more warmer in comparison and match better, leaving the First lens, 50mm, the only Cool toned one
I'm wondering if someone has tested any filters that would get the 50mm to match the rest of the set. I feel like I would easily lose track of which lens I used in what and miss correcting rhe blue cast on some random shot.
This may be a dumb question, but just seeking clarification. With these anamorphic lenses specifically does the crop factor (2x for GH5) not come into effect? So if I buy the 35 am I getting a 70 basically?
well yes and no. basically that is correct, but I'd still just apply the crop in the end. For example the 24mm has a horizontal FOV of roughly 18mm (due to the squeeze) apply the 2x crop and you get 48mm vertically and 36mm horizontally. But we're just talking about FOV not actual focal length.
@@phoenixfunny4517 maybe. The 6k anamorphic of the GH5 sounds best though since 2x would need 4:3 open gate for 2.39/2.4:1 aspect ratio. Unless the z cam has a 4:3 sensor so open gate would work
@@Alexrocks1253 the Z Cam E2 and E2-M4 have M43 sensors and can let you use multiple aspect ratios by using the whole sensor. However, since these are 1.33x Anamorphics then I wouldn't know why you'd use them with 4:3 as that would get you a 1.9:1 aspect ratio. If you wanted wide-screen then you'd just use them in 16x9 mode
@@phoenixfunny4517 I was talking about if they did a 2x version. For 1.33x 16:9 is definitely the best. I personally prefer 2x because of the more oval bokeh
@@Alexrocks1253 I agree, 2x would be amazing but I'd even settle for 1.5x or 1.8x And I'd use Z Cams with any of those Anamorphics because they support all those squeezes
Hi I just bought a Sirui anamorphic 35mm f1.8 and my camera is Panasonic GH5 and also I have Viltrox speed booster EF-M2II ( used typically for Sigma 18-35mm ). So Sirui offers an ef-mount adapter for their 35mm anamorphic. Will this work to combine 35mm anamorphic mft converted and mounted on ef speed booster and then mounted on GH5? And if yes how good or bad will be the results? Thank you
I am new to cinematography but I edit myself into movies and TV shows using green screen and was thinking about getting a new camera because now I have a iPhone 12!!!
@@ifiwere984 So with photos coming from digital sensors, you have raw, and then the processed ones like jpeg right? Raw gives you a lot of data, but the files are big. Jpeg gives you enough colours for viewing, but not for editing. The same goes with videos. Most videos are basically jpegs put into a box, and labeled as a video for your phone/computer to read. Because there's too much information going on, the default is usually to compress the data into 8 bit, or 256 values, of Red, Blue, and Greeen. 10 bit holds 1024 values. The difference in colours possible is 1.67 million with 8 bit. And 1.07 BILLION colours. It is in a sense, less compressed (kinda). So it's almost 640x more colour information. With 8 bit, imagine you have a bar of pure black to pure white, going from 0 to 100. You only have 256 slices of colour. With 10 bit, from 0 to 100, you have 1024 slices of colour. This gives you smoother gradations in colour changes. That helps a lot with green screening because the colour differences are greater, and your computer can detect them more easily. One reason why with TikTok, or Zoom calls, you often see the greenscreen effect cutting into people's hair or body is due to bit depth. There's one last bit to bit depth, and that's chroma sub sampling. It's a little complicated, so head over to Gerald Undone's channel. He's got good videos talking about this.
Hi.. thanks for that great video ..as always.. when you talk about the blue cast on the 50mm do you know for fact that it is a specific characteristic of that lens or it is the specific unit you have got? Just curious why Sirui would not take this in consideration when making a whole set of lenses. People build a set of lens with the same brand for exactly that reason of trying to have less work in post to correct the color shifts of the different types of lens one used in a shoot.
I'm just wondering if it's possible to switch the back mounts of these lenses. For now I need them for M43, but I'd love to use these for other mounts in the future without having to rebuy the set. A U.K. company does this, so shouldn't we be able to DIY it, too?
At 1:13 I see the example image for the Sony FZ mount has an anamorphic lens on the Lumix S1H body. Is it possible to put this lens on an L Mount body? If so which version do I buy? Thank you Caleb.
So I am a little confused by how crop factor plays into these lenses. I have an aps-c 1.5x crop camera, so a 24 is equivalent to a 35, a 35 is equivalent to a 50, a 50 is equivalent to a 75, etc. Does this hold true for these lenses? (except for extra information on the sides)
That is correct. These lenses will also add 1.33x to the width of your shot. So the 35mm will have a vertical equivalent to a 50mm (52.5mm) lens but a horizontal equivalent of 40mm (39.47mm) if my math is correct.
Too bad these lenses (definitely the 35mm and 50mm) change their squeeze ratio depending on focusing distance. Can't do closeups on them without it looking stretched.
@@geraldundone Geez...... I thought you were the sophisticated one ?! No comparative analysis of Nyquist sampling frequencies of various condenser mic brands ? No reviews of clamping rates of ambient noise reduction, impacting treble delineations? ....just head first in to a "yo momma" joke ?! . Seriously, add a bit of treble...background ambient....or echo..... turn off noise reduction..... . Nobody else notices?!
@@MilesBellas You're commenting on audio from my video that's a couple years old and that has no bearing on the actual video topic. I'm pleased with how my audio sounds these days. So is yo mama. 😜
Untrue. I watch your channel and subscribe. They are well informed. Don't be so defensive? You are defensive because you know it is true? . I disagree with the Sigma FP review: it's a modular camera, that is very small, with full frame raw..... that is a superb combination. Unparalleled for the price point. You have to the the camera in terms of practicality and usage too. Maybe go out and shoot as part of the analysis process? . Generally, your videos are fascinating. You do need a professional intro. I could probably do one for fun......for free........ . Out of all the videos I watch, your videos has a subtle, noticeably muted dynamic audio range..... it's slightly disconcerting......it makes the videos slightly unwatchable, no offense. I do appreciate your work, intelligence, insight and dedication you put into your production process,.... so this isn't being picky or some aberrant criticism..... Maybe I am the only person who notices? I that sense it doesn't matter. . Do you use sound proofing foam like professional audio studios? It reminds me of a room with soundproof foam where the high frequencies, room echo and ambience noise seem slightly clamped. It could be your intonation.....but maybe not? . Is there some noise reduction filter being applied? Anyway, great works etc...... keep positive ! both of your channels are great ! This is just something I randomly noticed........not criticism for the sake of criticism...... You create "deep dives" : why not an analysis of audio and filters ? Audio is very important in video. For feature films, people say the audio is 60% of the experience. 👍🙂 .
The sexiest thing in this video is the Atlas Orion 100mm anamorphic lens 😅
Most definitely 😍
So, if I buy a Atlas Orion ... I get PAID for shooting music videos ... instead of shooting them for free? Did I get that right? I guess I will have to hold off on that downpayment for my Tesla?
Jokes on you, Caleb, I've been auto-forwarding my mail to you for months. 😜🤓💜
I'm from the West Country here in the UK, so I say BOHKERR haha. I do not apologise for this :)
Would love to see a 2X squeeze by these guys!
Just hand them to your bass player 😉
Why? are you able to shoot 4x3 open gate?
I agree about that 35 and 75 combo. That's all I would need
It’s just that secondary flare that drives me nuts. Reminds me of an iPhone flare.
Yes... No fun at all.
Maybe don't point lights right down the lens barrel?
@@MiaogisTeas even at an angle they show up. Small lights and big lights.
When my 75mm arrives I will have the whole set purchased using the Indiegogo sales.
Thanks for the review, Caleb! Smart idea showing off past versions to compare how the new lens matches up!
what I don't like about this lenses is the inconsistency in size and dimensions, they should be the same size and have the same focal ring position that way you could fast swap them from your follow focus and not adjust anything
And inconsistencies in mounts. Why not just make it available for all mirrorless via adapters?
Your advice on picking the 35 and 75 mm versions was my thinking too. Thanks for ALL of the great product reviews past and future. Best wished and Happy Solstice.
I just wish their set is more... mount consistent. Only 3 out of 4 lenses are on the X-mount. It's weird that they engineered them so inconsistently. I'm salty. Very salty.
SAME!
I agree. As a dual Pocket 4K owner who also owns a Fuji XT-4, all I would need is to buy the X mount kits and have the option to use my set on both cameras.
YO you're the first person to mention that you can get them in RF!!! Finally something for Canon!!! Thank you Caleb!
Can't wait to get my 75mm - I've been using the 3 others and the 35mm is my favorite 😊
How is the 75mm ?
Great video as always, Caleb! After seeing all these lenses together I definitely want the set.
Thank you Alex!!!
As much as I like you and most of your previous content it’s hard to believe that you like these lenses. The x1.33 surely makes these an anamorphic non starter for most and I just couldn’t see anything vaguely anamorphic about the shots here even with the 75mm that would be useful in creating that look. Maybe I have missed it but I don’t see why anyone in love with the anamorphic “look” would consider these. If anyone has footage to show the contrary I would love to see it. Thx again for your time and work. Always appreciated.
I don't think you should bash them so much because you also need to factor in the cost. I also don't think that you should say this so hard, because they do indeed look anamorphic to me.
the comparison shots of all lenses at once is interesting, more of those please :)
it's been a long time... without you my friend
I'm trying to get back to weekly!!!
If anyone is considering a 1.33x anamorphic lens for MFT, I would highly recommend first trying an SLR Magic 1.33x adapter that can even cover 20mm on a MFT camera/lens. In any case, a simple streak filter can replicate any anamorphic qualities these lenses offer.
Please more of these lens set videos or a video on how to mod vintage photo lenses into cine ones.
I have the 35mm for my GH5 and love it. I'd would say if you're shooting mft, then 24mm might be worth getting to get the standard fov. Sometimes even the 35mm can be a little tight on the vertical side imo.
got the 35mm 1.8 for $399, which is insane for that versatile of a lens
Excellent presentation! Helps me make the right choice!😊
I hope they will make a version 2 or something of the 50mm to match the rest of the lenses. It is strange that they didn't make them colour consistent between the first and the rest.
I bet these would pair really nicely with my BMPCC4K. Been watching them for a while. It's so cool that a company is pushing the price envelope in a space that is dominated by 'You will pay this price because we know you can afford it' price tags.
I went MFT due to these lenses. I thought the BMPCC4K would be great. And now that I also got the camera I have to say it does not disappoint.
@@alfonsojarago It really is an amazing camera for the price. I imagine you are getting wonderful images from it with these lenses.
@@AJ_UK_LIVE I has an A7s before this (I still do) and the codec and color science is a massive leap forward. I'm sure the A7s III has improved the color science (codec still lags) but that's almost 3 times the price.
I love how almost straight out of the box you're already hitting those skin tones really well.
@@alfonsojarago Absolutely. Gen 5 colour science is a huge leap. Colour in Davinci Resolve is fantastic.
When are you going to release the second part to the vhs updated camera video? Ive been waiting!
hey caleb! your videos are amazing
Is the focal length of the lens true to image, or is the crop factor of MFT and APS-c sensors still need to be considered for these lens? For example, does the 24mm on a MFT sensor roughly equal 48mm?
I started with the 50mm 😁 However, I love the 50mm look, so the blue cast is not big deal to me since I shoot in BRAW and the software does a fine job of fixing any color correction in Premiere and Resolve. They are great lenses to be sure and look to shoot with them. They are currently my favorite lens to use on my BM4K. I really would have liked to have a focus ring though 😡
Caleb, what kind of case are you storing yours in? I'm trying to find one thats a good fit for my set.
Secundary flairs a really a pain, when used against strong backlight. Could you please make a small test with those lenses?
I just ordered a couple. They are on sale for really cheap right now. I was debating the 24 and 50, or the 35 and 75. Ultimately chose 35 and 75. Hopefully I chose wisely. If I were to choose only one, I think it would be the 50. Still want to get the others eventually, but I'll start out with two and see if I need the others. And for the record, I think you pronounce "bokeh" CORRECTLY.
Where can i see the music video?
I would love to have this kind of affordable anamorphic lenses for EF mount ;)
MFT has a crop factor of 2.0x, so in the end those lens are 48, 70, 100 and 150 mm. And the 1.33x vertical anamorphic smear is to weak. I don't care about "blue line", I need wider angles.
I have the Z Cam E2-S6 which has a Super 35 sensor (1.4x) and these lenses look awesome in my camera.
You get even wider and it cover the while sensor (with only the 24mm having some slight vignetting but that still feels Anamorphic).
And I have them all on M43 because my Cam has a Locking M43 mount do they're super secured
Just put a wide angle converter problems solved!
Could the 50mm have been a faulty lens? I'd be amazed if a company didnt notice the massive colour difference in that lens compared to the other 3?
That is what I thought too but the problem seems to be universal or at least consistent in their early and current batches.
It was the First lens they made so there was no other lens to compare it to. It just had a cool tone to it. Every lens after was made to be more warmer in comparison and match better, leaving the First lens, 50mm, the only Cool toned one
You do great videos. Forgive the suggestion - vocal de-esser. Your mics are SSSSSibilant.
Would love to see this on a canon EF mount. :(
Not even RF mount lol
I was literally JUST looking up anamorphic lenses...get out of my head, Caleb!!!
fantastic colors! which lut did you use for this video?
I'm wondering if someone has tested any filters that would get the 50mm to match the rest of the set. I feel like I would easily lose track of which lens I used in what and miss correcting rhe blue cast on some random shot.
This may be a dumb question, but just seeking clarification. With these anamorphic lenses specifically does the crop factor (2x for GH5) not come into effect? So if I buy the 35 am I getting a 70 basically?
Kind off... Vertical factor is the same, but the horizontal crop will be reduced.
@@dslrvideoshooter So a 24 on a GH5 is a 48 vertical still 2x but a bit wider something like 32 on a 1.33x?
well yes and no. basically that is correct, but I'd still just apply the crop in the end.
For example the 24mm has a horizontal FOV of roughly 18mm (due to the squeeze) apply the 2x crop and you get 48mm vertically and 36mm horizontally.
But we're just talking about FOV not actual focal length.
Seems that if they do a 2x version, the best cameras for these will be the GH5ii, GH6, S1H and some high end cinema rigs!
The Z Cams would probably be the best on a budget
@@phoenixfunny4517 maybe. The 6k anamorphic of the GH5 sounds best though since 2x would need 4:3 open gate for 2.39/2.4:1 aspect ratio. Unless the z cam has a 4:3 sensor so open gate would work
@@Alexrocks1253 the Z Cam E2 and E2-M4 have M43 sensors and can let you use multiple aspect ratios by using the whole sensor.
However, since these are 1.33x Anamorphics then I wouldn't know why you'd use them with 4:3 as that would get you a 1.9:1 aspect ratio. If you wanted wide-screen then you'd just use them in 16x9 mode
@@phoenixfunny4517 I was talking about if they did a 2x version. For 1.33x 16:9 is definitely the best. I personally prefer 2x because of the more oval bokeh
@@Alexrocks1253 I agree, 2x would be amazing but I'd even settle for 1.5x or 1.8x
And I'd use Z Cams with any of those Anamorphics because they support all those squeezes
Magnifico video!
When pairing the lenses with a GH5, would there still be a 2X crop factor due to the sensor?
Yup
Hi I just bought a Sirui anamorphic 35mm f1.8 and my camera is Panasonic GH5 and also I have Viltrox speed booster EF-M2II ( used typically for Sigma 18-35mm ). So Sirui offers an ef-mount adapter for their 35mm anamorphic. Will this work to combine 35mm anamorphic mft converted and mounted on ef speed booster and then mounted on GH5?
And if yes how good or bad will be the results?
Thank you
I love this channel
I am new to cinematography but I edit myself into movies and TV shows using green screen and was thinking about getting a new camera because now I have a iPhone 12!!!
GH5 or Fuji XT3/4 are good options since they have 10 bit. For green screening, bit depth is pretty important.
@@professionalpotato4764 What does bit depth mean though
@@ifiwere984 So with photos coming from digital sensors, you have raw, and then the processed ones like jpeg right? Raw gives you a lot of data, but the files are big. Jpeg gives you enough colours for viewing, but not for editing.
The same goes with videos. Most videos are basically jpegs put into a box, and labeled as a video for your phone/computer to read. Because there's too much information going on, the default is usually to compress the data into 8 bit, or 256 values, of Red, Blue, and Greeen. 10 bit holds 1024 values. The difference in colours possible is 1.67 million with 8 bit. And 1.07 BILLION colours. It is in a sense, less compressed (kinda). So it's almost 640x more colour information.
With 8 bit, imagine you have a bar of pure black to pure white, going from 0 to 100. You only have 256 slices of colour. With 10 bit, from 0 to 100, you have 1024 slices of colour. This gives you smoother gradations in colour changes. That helps a lot with green screening because the colour differences are greater, and your computer can detect them more easily. One reason why with TikTok, or Zoom calls, you often see the greenscreen effect cutting into people's hair or body is due to bit depth.
There's one last bit to bit depth, and that's chroma sub sampling. It's a little complicated, so head over to Gerald Undone's channel. He's got good videos talking about this.
Has this blue color tint been addressed for the 50mm lens since this video?
A crazy slider you got in this video. How much is it ant what brand?
Hi.. thanks for that great video ..as always..
when you talk about the blue cast on the 50mm do you know for fact that it is a specific characteristic of that lens or it is the specific unit you have got? Just curious why Sirui would not take this in consideration when making a whole set of lenses. People build a set of lens with the same brand for exactly that reason of trying to have less work in post to correct the color shifts of the different types of lens one used in a shoot.
Definitely a consistent issue. Seem a lot of other people talking about it. Too bad!
What about the image squeeze difference when focused to the minimum focus distance / infinity that PotatoJet experienced? Is it fixed in the 75mm?
No
I'm just wondering if it's possible to switch the back mounts of these lenses. For now I need them for M43, but I'd love to use these for other mounts in the future without having to rebuy the set. A U.K. company does this, so shouldn't we be able to DIY it, too?
Check their website, they offer swappable mounts, however it's not for every focal length which is odd and frustrating.
Why Sirius not producing 35mm focal length for x mount?
Did you really de-squeeze 1.33x in camera? I can't do this with my GH5 because the only options are "2x" and "OFF".
Do you have the latest firmware installed?
Did you tried this lenses with the S1 in APSC mode ?
As always, great review. Thanks for posting.
I have the 50mm and the 24mm and I love them both. Never thought about the 35mm till you gave it a thumbs up.
Did you nearly go LegalEagle on us? 🤣
Thanks. Just bought the 24mm and now I have 50mm and 24mm 😂😂😂
At 1:13 I see the example image for the Sony FZ mount has an anamorphic lens on the Lumix S1H body. Is it possible to put this lens on an L Mount body? If so which version do I buy? Thank you Caleb.
Yes they offer L mount!
Does a 35mm on Mft translate to 70mm in full frame or it's a different story with anamorphic lenses?
I think this applies only to height on this case, on width you applies 1,33 (the squeeze factor), so it will work as a APS-C sensor width, kind of
Hi ! In what focal length you film this video ??
On the GH5/M 4/3 systems, are these still considered a 2x crop, even with the squeeze?
* 1.33x
So I am a little confused by how crop factor plays into these lenses. I have an aps-c 1.5x crop camera, so a 24 is equivalent to a 35, a 35 is equivalent to a 50, a 50 is equivalent to a 75, etc. Does this hold true for these lenses? (except for extra information on the sides)
That is correct. These lenses will also add 1.33x to the width of your shot. So the 35mm will have a vertical equivalent to a 50mm (52.5mm) lens but a horizontal equivalent of 40mm (39.47mm) if my math is correct.
@@dslrvideoshooter Great thanks! Love your videos man!
Too bad these lenses (definitely the 35mm and 50mm) change their squeeze ratio depending on focusing distance. Can't do closeups on them without it looking stretched.
Get a 0.5+ diopter. This will help in some cases
That's gerald at undone org. Got it. I'll get that hate mail sent off to him right away. Thanks.
What is the real focal length of Sir 35 on gh5? 70? (crop factor mtf=2)
caleb was this shot on the gh5.the b roll I mean
where can i see the complete music clip? have a link?
I'll hunt it down once their edit is done! Ironically, they used Atlas lenses which is cool.
@@dslrvideoshooter sensational the image ... wonderful optics, I'm your fan, one of my biggest influences here on youtube
What size black promise filter would fit on these lenses?
Uhhh 67mm I believe
good job bro
GH5 has still got it!
The lack of focus gearing drives me nuts
No discussion of strange lens flares.
the 50 is the first one I got and that blue caste is disappointing.
Never clicked this fast
Love form pakistan 🇵🇰🇵🇰🇵🇰
First place!!! Love right back at you!
@@dslrvideoshooter 🔥🔥
What were you filming???
I was creeping on my buddy's music video set.
@@dslrvideoshooter Ya I realized later when I finished the video.
3:38
Gerald's mic has a flattened dynamic range, like speaking in a cardboard box ?
The problem is his audio quality not his pronunciation.
Yo mama never complained. 🤠
@@geraldundone
Geez......
I thought you were the sophisticated one ?!
No comparative analysis of Nyquist sampling frequencies of various condenser mic brands ?
No reviews of clamping rates of ambient noise reduction, impacting treble delineations?
....just head first in to a "yo momma" joke ?!
.
Seriously, add a bit of treble...background ambient....or echo..... turn off noise reduction.....
.
Nobody else notices?!
@@MilesBellas You're commenting on audio from my video that's a couple years old and that has no bearing on the actual video topic. I'm pleased with how my audio sounds these days.
So is yo mama. 😜
Untrue. I watch your channel and subscribe.
They are well informed.
Don't be so defensive? You are defensive because you know it is true?
.
I disagree with the Sigma FP review: it's a modular camera, that is very small, with full frame raw..... that is a superb combination. Unparalleled for the price point.
You have to the the camera in terms of practicality and usage too.
Maybe go out and shoot as part of the analysis process?
.
Generally, your videos are fascinating.
You do need a professional intro.
I could probably do one for fun......for free........
.
Out of all the videos I watch, your videos has a subtle, noticeably muted dynamic audio range..... it's slightly disconcerting......it makes the videos slightly unwatchable, no offense.
I do appreciate your work, intelligence, insight and dedication you put into your production process,.... so this isn't being picky or some aberrant criticism.....
Maybe I am the only person who notices?
I that sense it doesn't matter.
.
Do you use sound proofing foam like professional audio studios?
It reminds me of a room with soundproof foam where the high frequencies, room echo and ambience noise seem slightly clamped.
It could be your intonation.....but maybe not?
.
Is there some noise reduction filter being applied?
Anyway, great works etc...... keep positive !
both of your channels are great !
This is just something I randomly noticed........not criticism for the sake of criticism......
You create "deep dives" : why not an analysis of audio and filters ?
Audio is very important in video.
For feature films, people say the audio is 60% of the experience.
👍🙂
.
@@MilesBellas I'm happy with my intro and I'm happy with my audio.
I be like, "damb, that's cheap! Wait, i still can't afford it 😫"
3:49
5:24
That is an ATLAS ORION lens not Sirui.
Confusion I know... The production I was on was using atlas lenses, but everything shot in this video was done with Sirui lenses.
@@dslrvideoshooter
Maybe compare sets?
I wish these were made in the US or Europe.
Western IP is replicated at low cost as a military strategy.
Nice & Thanks :)
I still can't get how you found the "su-ray" pronounciation!?!?!? Or I can't read...
Oh man 1.33x doesn't really cut the look sadly
for the price and filmmakers on a budget, that should be enough.
Sure I😅
Nice
I'd rather get a Canon FD set
Great,
Why do you want a anamorphic lens anyways?
they shld make 16mm...
If they put out an ef mount I would be all over them
Don't think the look they give off is very pleasing
No EF.
Bo-keh.
So its not pronounced "Toneh"?
HELLO BRO
I got the First comment!
Not Full frame then nah
Please don't call these lenses anamorphic. The word anamorphic deserves better
Primer comentario!
first
Apart from the flares they don't look anamorphic to me.