@@Shannon.Strada you have another fan boy for this. as far as i understand is.. for indie film projects..we will not have a freedom for lavish production design options. when we write the script..i never impose restrictions to my pen. but the reality is.. on set production. you have to compromise due to budget. it will start with camera ,lenses etc etc.these kind of handy things will try to minimise the compromises. i can not say they will by passes those compromises. thank you for this educational video. very insightful
I like the L2 as well. the contrast and light-wrap are really useful. And we used Rokinon for the reasons stated in the episode, but if you put the L2 on a more stylized lens, I expect to get some really remarkably unique and lovely images - again, all variable!
I'm with you...and I even directed this! After some initial testing, I decided to go pretty extreme with the L1 in order to show a HUGE difference between the source Rokinon and the L1. I felt that if the Rokinon control + a tuner was too subtle (especially on a TH-cam screen) the opportunity would be harder to understand. But remember, the tuners are variable - so we could turn it down to a level 1, plus as you reduce lens aperture, it further reduces the aberration. So if L1 was too intense (which I agree it was in this proof of concept test) we could go to a level 1 and a T2.8 and it would knock down the effect by around 75%. But that's what testing and experimenting is for! Thanks for the comment:)
L1 is intentionally strong. The L2 and L3 are more of a match to real vintage. But during development, people wanted MORE, especially for small screens. So we made L1 like the Baltar at 0 and then let you crank it up to insane levels.
@@Michael_Cioni I'd be really curious to see the L1 knocked down a lot. I liked the Bokeh effect. I'm with Shannon, really liked what L3 brought. I love contrast and sharpness in a lens, I just want to be able to focus it, and seems like the L3 does that really well. Also, y'all got a great set of Rokinons. I've tested sets at T1.5 before, and the images turned into mud, couldn't even tell if something was in focus, but I think that's part of the variance you get without the strict quality controls (which is what really costs so much money).
You really need to research what lenses were used on specific movies. Star Wars A New Hope was shot on Panavision C-Series anamorphic lenses - not Super Baltars and The Godfather - although Super Baltars are listed on most lens lists used a Panavision rehoused 40mm Cooke Speed Panchro for a lot of the shooting as this was Willis' favourite focal length (and there was no 40mm in the SB set). Ridley Scott's Alien was shot on again on Panavision C-Series lens anamorphic and Cooke Varotal zooms - NOT Canon K35s.
Great point. Resolve can provide edge blurs and such. So some of the turner effects can be done in DI - such as the warping, warmth, and edge blur. But as an expert in color correction and finishing, I can also say that there are absolutely aspects of the images that DI tools like Resolve cannot replicate. For example, Resolve cannot generate asymmetrical bokeh, for example, nor can it create the 3-dimensional light-wraps in coma is impossible to get to behave the same way as a lens. This is not a knock against powerful tools like Resolve, rather things that happen in the optical space (analog) are always going to bring unique characteristics that are different than the computer (digital) space. For best results and most control, it's a combination of these two worlds to invent a unique look. This is why lens choices are so fun - you get automatic beauty characteristics from the lens and then push it further in post. This makes me want to do an episode on DI color correction with some of the world's best colorists. I think we'll do that in a future episode! Thanks for the comment!
Great video! I have a tonne of Canon L series sat around in a box I didn't want to part with. Just wondering if you (or anyone ) tested the autofocus at all. Wanting to pick up the L2 Ef-E for my FX6
On what stregth did you have the L1 for the test? Looks quite smeary compared to other tests I've seen. I hope it's just a matter of the level that was set on the Tuner, because otherwise I looove the look of the L1, especially the bokeh!
We set it to level 5 with the iris wide open. I agree it's too much but we wanted to start with something a bit extreme for a strong comparison. So you could easily go down to a level 1 or 2 and close the iris down even 1 stop and that would knock the effect down by as much as 90% from what you see here. L3 on the other hand had to be cranked UP to 5 or higher in order to see the effect.
It's really a simple point. Do you want to shoot dead clinical clean or do you want to shoot with a look? I think the answer is, it depends on the video brief.
Something to note, The Detuners are directly influenced by your F-Numbers, The L1 works best with more closed-down apertures,it looks kinda of awful wide open but it bites up at around F2.5 while the L2 works best with more open apertures F1.2-F2, and the halation effect basically become unnoticeable at F2.8 even at it's highest strength. I've been wanting to purchase the L2 now for what feels like an eternity, but the poor marketing and lack of results has made it near impossible to purchase with confidence.
Marketing has been tricky. We spend all our money on product and it's hard to really capture what these things do on set when presenting on TH-cam. The Strada team knocked this one out of the park with the message that we are an economical choice for low end lenses. We are finally on a few streaming shows and when we can show professional DP results on large budget productions, the message will be stronger. You can always order an L2 and return it if it's not for you. Spherical aberration goes as the aperture cubed so the effect is very nonlinear. However, the astigmatism of the L3 can still be seen up to F/8. Thanks for clarifying the effect with aperture and we hope you decide to try us out.
@@Module-8 I totally understand that, but people like me understand the appeal of the product, the idea that I can take all my current EF glass and give them a whole new Look, and create different combinations with different adaptors and different lenses is incredible for £1.4k! I want to show how amazing this adaptor could be because no one else is doing it, I want to play with it on all my different lenses, and I want to show those results but I can't commit to the purchase until I've seen other people do that, or unless *Wink Wink.. I could get a review unit to be the person who actually starts showing results, but the team never got back to me on that.
Awwww. Come on🙂 Remember, these tuners are variable. I directed this and decided that in order to really show a variation I wanted to go right form the Rokinon control to something really extreme - using the same lens. That's the really unique story here! plus you can dial down the look with the turner dial. But I agree with you - this is too extreme, but I figured on TH-cam it was a great way to show the variation - then back it off on the other 2 tuners. Did you watch the rest of the episode? I think you might see some much more subtle and pretty results with the L2 and L3 tuners. Once you pair those with other lenses that have their own characteristics and a great story, you can invent a totally new look. Thanks for the comment:)
![โรงเรียนตอนตี 2 โคตรหลอน..!! [โรงเรียนไดเม่]](http://i.ytimg.com/vi/2MAEMwqVYh8/mqdefault.jpg)
The look of L2 is visual stunning in my eyes. But it’s hard to pick between L2 and L3 , great video brother. 🔥🔥🔥🔥🔥🔥
As always a video with a great quality, thank you for showing us a different approach to this world.
“No honey, we have cinematic at home”
Cinematic at home:
The best comparison of the three Tuners that I've seen. Very well done!
L3 looked magical
That one is definitely my fav!
@@Shannon.Strada you have another fan boy for this. as far as i understand is.. for indie film projects..we will not have a freedom for lavish production design options. when we write the script..i never impose restrictions to my pen. but the reality is.. on set production. you have to compromise due to budget. it will start with camera ,lenses etc etc.these kind of handy things will try to minimise the compromises. i can not say they will by passes those compromises. thank you for this educational video. very insightful
L2 looks great
I like the L2 as well. the contrast and light-wrap are really useful. And we used Rokinon for the reasons stated in the episode, but if you put the L2 on a more stylized lens, I expect to get some really remarkably unique and lovely images - again, all variable!
Woah....This video was next level!
Am I the only one who didn't like the effect of the L1 adaptors?
I'm with you...and I even directed this! After some initial testing, I decided to go pretty extreme with the L1 in order to show a HUGE difference between the source Rokinon and the L1. I felt that if the Rokinon control + a tuner was too subtle (especially on a TH-cam screen) the opportunity would be harder to understand. But remember, the tuners are variable - so we could turn it down to a level 1, plus as you reduce lens aperture, it further reduces the aberration. So if L1 was too intense (which I agree it was in this proof of concept test) we could go to a level 1 and a T2.8 and it would knock down the effect by around 75%. But that's what testing and experimenting is for! Thanks for the comment:)
L1 is intentionally strong. The L2 and L3 are more of a match to real vintage. But during development, people wanted MORE, especially for small screens. So we made L1 like the Baltar at 0 and then let you crank it up to insane levels.
@@Michael_Cioni I'd be really curious to see the L1 knocked down a lot. I liked the Bokeh effect. I'm with Shannon, really liked what L3 brought. I love contrast and sharpness in a lens, I just want to be able to focus it, and seems like the L3 does that really well.
Also, y'all got a great set of Rokinons. I've tested sets at T1.5 before, and the images turned into mud, couldn't even tell if something was in focus, but I think that's part of the variance you get without the strict quality controls (which is what really costs so much money).
@@AronMeinhardt Very few people realize that one reason really nice cine glass is so expensive is serviceability and consistency from lens to lens.
Always learning something from Strada videos. Thanks!
You’re a madlad 🔥
You really need to research what lenses were used on specific movies.
Star Wars A New Hope was shot on Panavision C-Series anamorphic lenses - not Super Baltars and The Godfather - although Super Baltars are listed on most lens lists used a Panavision rehoused 40mm Cooke Speed Panchro for a lot of the shooting as this was Willis' favourite focal length (and there was no 40mm in the SB set).
Ridley Scott's Alien was shot on again on Panavision C-Series lens anamorphic and Cooke Varotal zooms - NOT Canon K35s.
Just make it look like that in resolve grading instead of spending all this 💰 on lenses and adapters
Great point. Resolve can provide edge blurs and such. So some of the turner effects can be done in DI - such as the warping, warmth, and edge blur. But as an expert in color correction and finishing, I can also say that there are absolutely aspects of the images that DI tools like Resolve cannot replicate. For example, Resolve cannot generate asymmetrical bokeh, for example, nor can it create the 3-dimensional light-wraps in coma is impossible to get to behave the same way as a lens. This is not a knock against powerful tools like Resolve, rather things that happen in the optical space (analog) are always going to bring unique characteristics that are different than the computer (digital) space. For best results and most control, it's a combination of these two worlds to invent a unique look. This is why lens choices are so fun - you get automatic beauty characteristics from the lens and then push it further in post. This makes me want to do an episode on DI color correction with some of the world's best colorists. I think we'll do that in a future episode! Thanks for the comment!
Great video! I have a tonne of Canon L series sat around in a box I didn't want to part with. Just wondering if you (or anyone ) tested the autofocus at all. Wanting to pick up the L2 Ef-E for my FX6
On what stregth did you have the L1 for the test? Looks quite smeary compared to other tests I've seen. I hope it's just a matter of the level that was set on the Tuner, because otherwise I looove the look of the L1, especially the bokeh!
We set it to level 5 with the iris wide open. I agree it's too much but we wanted to start with something a bit extreme for a strong comparison. So you could easily go down to a level 1 or 2 and close the iris down even 1 stop and that would knock the effect down by as much as 90% from what you see here.
L3 on the other hand had to be cranked UP to 5 or higher in order to see the effect.
@@Strada-Tech thank you, that's reassuring. For a minute I was afraid that it would already look like this on the lower levels. ;)
why there is no E mount to E mount version:(
For my money I think it looks horrible
Agreed. Why pay to make your video look worse?
It's really a simple point. Do you want to shoot dead clinical clean or do you want to shoot with a look? I think the answer is, it depends on the video brief.
@@Superbustr there is character yes but then there is this.. it looks like a lomo lens or a cheap iPhone filter. Not for me
Something to note, The Detuners are directly influenced by your F-Numbers, The L1 works best with more closed-down apertures,it looks kinda of awful wide open but it bites up at around F2.5 while the L2 works best with more open apertures F1.2-F2, and the halation effect basically become unnoticeable at F2.8 even at it's highest strength.
I've been wanting to purchase the L2 now for what feels like an eternity, but the poor marketing and lack of results has made it near impossible to purchase with confidence.
Marketing has been tricky. We spend all our money on product and it's hard to really capture what these things do on set when presenting on TH-cam. The Strada team knocked this one out of the park with the message that we are an economical choice for low end lenses. We are finally on a few streaming shows and when we can show professional DP results on large budget productions, the message will be stronger. You can always order an L2 and return it if it's not for you. Spherical aberration goes as the aperture cubed so the effect is very nonlinear. However, the astigmatism of the L3 can still be seen up to F/8. Thanks for clarifying the effect with aperture and we hope you decide to try us out.
@@Module-8 I totally understand that, but people like me understand the appeal of the product, the idea that I can take all my current EF glass and give them a whole new Look, and create different combinations with different adaptors and different lenses is incredible for £1.4k! I want to show how amazing this adaptor could be because no one else is doing it, I want to play with it on all my different lenses, and I want to show those results but I can't commit to the purchase until I've seen other people do that, or unless *Wink Wink.. I could get a review unit to be the person who actually starts showing results, but the team never got back to me on that.
I'm the same with L1 - the level 5 wide open is not the intended effect and looks woeful as always!! missed opportunity for a great comparison.
Cries in l-mount.
The title should be “How to destroy the image quality “
Awwww. Come on🙂 Remember, these tuners are variable. I directed this and decided that in order to really show a variation I wanted to go right form the Rokinon control to something really extreme - using the same lens. That's the really unique story here! plus you can dial down the look with the turner dial. But I agree with you - this is too extreme, but I figured on TH-cam it was a great way to show the variation - then back it off on the other 2 tuners. Did you watch the rest of the episode? I think you might see some much more subtle and pretty results with the L2 and L3 tuners. Once you pair those with other lenses that have their own characteristics and a great story, you can invent a totally new look. Thanks for the comment:)
@@Michael_Cioni they seriously looked terrible.
ok, so you put vaseline on lens... xD
omg it looks so bad