Видео

I agree! It impresses me every time I use it. Thanks for the kind words! And happy shooting 😆👍

You can use “do not disturb” or airplane mode. Or just turn cellular and WiFi off. All should work

5 years at clown school weren’t wasted! 😁

Different follow focus have different focus directions. On more expensive FF like the Arri FF-5 you can buy gears that reverse the focus direction. This is an inexpensive one so doesn’t offer a reverse option. But yes you can mount it upside down and will then focus the opposite way. But there’s nothing wrong with it. Some people prefer to pull in one direction. Others prefer to pull the other.

@@FilmJamsспасибо что все подробно объяснил 👍

@@user-cg4iu7gx7z Any time!

Thanks for checking in! Well we outgrew the original studio that this video was about and recently moved into a place about 3x the size 12,000sq ft. Our latest feature film project was Mother Nature and the Doomsday Prepper (you can check it out on IMDB). We shot about 1/3 of the movie on our LED wall (Studio A). We have a lot more info on the instagram for the movie where you can see BTS in the studio: @mother_nature_movie

I actually didn’t have insurance when I first started and still worked consistently enough to grow the business. It wasn’t until I started producing projects for larger clients where they asked for insurance that I eventually got it. But absolutely if you can afford it when you’re starting out, not a bad thing to have! Car…well in a lot of big production cities you don’t need a car. Anytime we do work in NYC or London there’s transpo 90% of the time. I also know production folks who Uber to set. I’d leave that one up to dealer’s choice and location. But hey thanks for the feedback!

@@FilmJams Was more like a joke, because me and my friends also had no insurance until we had to film in greece, where we were forced to store the gear in the VW. I also have no car, not even a driving license, because here in Germany you pay for the right to drive between 3000 and 4000 Euro these days. Everyone wants to rip you off since capitalism entered it's final form, I guess. 😂😅 We have public transport, but even here the clients want someone who can drive, because "professional". I don't know, how I will handle that issue, because film school costs too. And sadly in Germany we have to attend film school to become a filmmaker, not like in other countries where working on sets and experience is worth more than licenses and academic grades. German film industry is so extremely elitist. And I never got why, because compared with other countries our productions are pretty lame and forgettable. But it's all about the money and the special place beneath the sun, only the rich and wealthy can effort, I guess.

⁠@@hidicproductions4849damn that sucks! Didn’t realize it was like that in Deutchland. You should come to America! We’ve actually had 2 German interns at our company and many from Europe. Many times the internships lead to good work! Even if not with our company many other US companies offer them too.

@@FilmJams Would be an option, if your country wouldn't try to become a dictatorship. 😅 But to be fair, here in Europe it doesn't look better on the political side... And you are right, Germany sucks in case of filmmaking. We have great ideas, but the execs and investors just don't want to risk something. And so, all good ideas end up in the bin. With DARK German creatives showed, what could be possible. But only with Netflix stepping in. Under the control of a german fund, that whole thing would have been a Till Schweiger comedy. I am sick of the restrictions, the glass floors, the constant rely on vitamin b and the elitist behavior around stuff, that shouldn't be called "art". The older I become, the more I understand, why Werner Herzog left this country and tried his luck in the states.

Diffraction is a word mothers used to scare their children away from using lenses. Ansel Adams and other great landscape photographers routinely shot at f/64. And they didn’t have the benefits of Diffraction Correction in software that we do now. You can also do a lot with texture and detail sliders to get back any subtle softness you might perceive is lost. Tho I myself shoot at f/32 often and the trade off in softness vs getting everything in focus is something I rarely think about. It’s pretty negligible on the 23mm lens and the GFX. F/32 is certainly not a tool I use for everything, but absolutely nice to have when I need it.

Thanks for watching! Yes mostly all at 1.8. I was very pleasantly surprised by this lens especially considering its price. Let us know what you think about the 24mm!

@@FilmJams qulaity is great especially with sony a7siii , i own 2 a7siii cameras , planning to buy 35mm seeing this video

@@FilmJamswhich codec u filmed ? XAVCHS OR XAVC ? OR S-I

@@luckynaturerelaxationin8kI always try to shoot the I codec as it is easier to edit!

@@luckynaturerelaxationin8kawesome! Hope you enjoy it!

Absolutely they will work!

@@FilmJams Thanks. Have you ever tried?

Glad it helped! Thanks for watching your Film Jams!

For sure. We actually mention that in the video. You can also build it into a shirt like we talk about as well which is what a lot of productions I’ve been on have done.

Yo yo! Thanks for stopping by. Our latest film is called Mother Nature and the Doomsday Prepper. You can check out some BTS and updates on Instagram! @Mother_nature_movie

@@FilmJams Awesome!

Oooof good line

@@FilmJams Hahahaha

Awesome. Enjoy the ride! And watch your Film Jams. You’ll be fine!

Hopefully it went well.

Thanks for watching! I’m there with ya! If you want to buy our 23mm we decided to sell it lol. Couldn’t justify keeping both. But ya I love the look of the Mitakon. I’m hoping for a fisheye or ultra wide GFX lens myself one day!

Nice! Such a great lens. And good note…weather sealing is important! 😄📸

That's the spirit of Film Jams ol' boy! If you're uncomfortable, then you must be in the right place. And yes that is a follow focus in my pocket, but I'm also happy to see you!

Thanks for watching! You make some great observations. And I agree a very good value on the Rokes

Blurrin’ and purrin’ !

Thanks for watching! That’s why we do these videos to see what the real world results are. No color adjustments in post. These clips are straight OOC.

I agree! Wish we had shot more. Thanks for watching!

Glad you enjoyed it! Thanks for watching!

Thanks! Luckily they make a cure for that. It’s called the 24-105 RF 2.8 😁📸

No it’s the Big FX. They’re different

Thanks for watching. It’s a great lens for sure!

Try Warp stabilizer

@@FilmJams Thanks. Warp stabilizer? Another gimbal, an add-on accessory, or an app? Never heard of it.

@@k16eya it’s in premiere if y Google it.

That was in the previous version. This one I didn’t have any issues yet.

Sadly INKEE discontinued these a year or so back. We added that link as it’s a similar product that we recommend.

I haven’t just the Apple case. Works great!

It’s one of the most underrated lenses! I agree. So nice! Thanks for stopping by the channel.

You’re welcome! Sigma is a nice lens too. It’s a lot heavier plus you must add the RF to EF adapter. For me the Canon is better for travel and using on a gimbal. But I think the Sigma is nice with the extra depth with its 1.4. If I wasn’t using on a gimbal or travel I would maybe get the Sigma. Also check on our channel we have a 35mm lens comparison where we compare them both side by side.

Here’s a link to that comparison: ruclips.net/video/dL5MeCOeN_s/видео.htmlsi=60yDT5FZ72RK7Cn8

@@FilmJams in short, is canon rf a more versatile lens? so that you can shoot video, even handheld and take photos

Yes it’s certainly more versatile as it also has image stabilization whereas the Sigma does not.

Anytime! Glad it was helpful!

You’re welcome Dick!

Should work with the step up ring. But can’t guarantee it. Def make sure u can return. Just in case.

Dumbest comment ever ☝️

Appreciate it thanks! We edited in a 3840x2160 timeline.

Color at 2:36? Looks pretty close to me. Especially compared to other lenses I’ve shot side-by-side. As far as sharpness yes the s4 is sharper but sharpness isn’t always everything these days…with how sharp 8k sensors are I often soften my lenses anyway.

@@FilmJamsSorry. Your synopsis started with 'the biggest differences' and I skimmed through and saw 'color'. Thought to myself, "Color looked pretty close; At least way closer than edge resolution." Even flaring was pretty different... Either way, there's no way I'd take an SP3, wide open, on an establishing shot of anything. It's just not even close to the same caliber.

Ahh I see what you mean now. Yes the SP3 are certainly softer on the edges. Luckily I own the S4 and not the SP3s! 😆🎥👍 but like I said a lot of modern cameras are so sharp I don’t know that it’s as much a factor anymore. Everything looks too sharp to me these days. I like softer looking footage like my atlas anamorphics wide open. Love the creamy dreamy vibe. But certainly not for everything.

Thanks for watching! They certainly aren't for everyone, and lots of great choices out there these days.

Should have the info in the video

@@FilmJams No there isn't, but on the other hand there is a good interpretation of the Eagles

@@contemarculahaha sorry it’s been a while since we made this video. I thought it did. It might just be mic in only.

@@FilmJams Thanks! I wish you good luck with your channel

@@contemarculaappreciate it thanks!! 🙏

Thanks for watching. To me the lenses are pretty close in color to my eye. I’ve definitely seen some much more far off lenses used on even large Hollywood film productions. Colorists can work a lot of magic these days to match. I wouldn’t be worried about a little magenta cast. But that’s just me! I’m just Ken!

@@FilmJams ya I think so, the color correct wouldn’t be hard, just annoying. But most Hollywood movies would probably use these as crash cam lenses because no pl.

@@nicholasboule5134yeah for sure tho the Venice is pretty popular. And with the Burano now I imagine these might see some play. I’d prob still go for a PL myself tho !

@@FilmJams I’m just an old soul S4 maximalist too so there is that hahahaha

@@nicholasboule5134I hear you! Just shot a feature last month on old school Cooke S4 and Angenieux Optimo DP zooms. My tried and true lens combo!

U could use a fog machine or atmosphere spray cans… or hope there’s enough atmosphere in your location but likely won’t be as impactful rays.

From the comica

Thank you! Appreciate that 😃🎥✌️

The T stop is certainly one obvious thing and the E lens mount helps the SP3 reduce size too. Thanks for watching!

For sure. These def seemed designed for cameras like Komodo and Burano with native RF and E mounts. I imagine canon will announce an RF cinema camera soon too which will make these lenses work on many of the modern bodies including Venice.

Nice! What are your thoughts in comparison?

@@FilmJamsbetween the supremes? The supremes are just perfection of performance even wide open. We’ve been shooting them (nearly) wide open too much, and we’re gonna dial them down in the future with more time to light. The cookes have only been tested on the FX6 so far but they are incredibly stylized as you’ve seen. We are hoping Duclos develops the LPL mount for the cookes so they can mount to our Alexa mini LF. The one challenge I’ve seen is focus pulling on the small barrel diameter, but I think we should adjust the focus motors sensitivity to help mitigate that. I like that they’re T2.4 because a tac sharp wide open lens is still too shallow the vast majority of the time.

That’s why you always go for the Mithril bag! Lighter and readily available in Rivendell camera store!

It is but so helpful to have!