Beaut of a lens. Just a quick blast here, but my initial thoughts so far - ✅ Perfect companion to the 10-25mm f/1.7 ✅ Very useful & versatile coverage at approx 50-100mm FF equivalent ✅ Smooth, clickless aperture ✅ Nice shallow DOF & compression at f/1.7 ✅ Very sharp and contemporary look ✅ Nicely controlled flaring ✅ Internal zoom that doesn’t extend ✅ Solid build quality and high quality feel ✅ Not heavy at all for what is a large unit ✅ Decent minimum focus at 0.92ft/28cm ✅ Minimal focus breathing 😬 Focus by wire, no hard stops, very short focus throw ❌ No IS, but really wasn’t needed with GH5 IBIS, even at 50mm
Update: on the point 'Focus by wire, no hard stops, very short focus throw' Most LUMIX cameras via firmware updates now allow you to change the focus to linear, and even to change the throw in degrees, all the way up to 360. There's still no hard stops, meaning they still can't be used with wireless follow focus systems, and it's still not quite the same as the responsive feedback and realistic feel you get with a mechanical focus system. However, this is a massive improvement that makes native Panasonic lenses much more useable in the filmmaking world! Thanks Panasonic for yet another great improvement 👍 PS I'd still love you to make some dedicated filmmaker's lenses with hard stops and a proper mechanical focus system though! Who wouldn't love to see a Panasonic/Leica Cine Prime collaboration? 😍
Would love to see a video of you explaining your gh5 setup and what settings you use and maybe explain what you need to look out for and adjust in certain situations ect. Might be really helpful for me and others, not sure if thats the type of content you'd want on your channel but i'd definitely watch it. Great video btw, the music, the lut and your overall look was amazing, keep up the good work bro!
Many thanks mate and yeah I think that’s a great idea. I do get quite a few questions along those lines so I’ll try to put something together. Thanks again 👍🏻
I got the 10-25 and it's perfect for general use as it covers 20-50mm FF equivalent. The look is indeed contemporary, with a lot of micro contrast. I love it. But then I also have the 42.5 F1.2 leica for portraits and the Olympus line up of 25 1.2, 75 1.8, 40-150 PRO 2.8 which are absolutely stunning. I also have the Lumix X II versions of the 35-100 2.8, 12-35 2.8. Spoilt for choice is an understatement. But I bought this set up over a long period of time, micro four thirds is the best.
Man.. I’ve loved every single one of your projects. Your music selection always has me captivated. If I may ask, what’s your resource for music? I feel like epidemic sound lacks this genre
@@lovefirst6157 decent exposure is absolutely key. You want to retain as much info as you can. As a general rule, set your zebras to just below clipping point. When exposing each shot, take it up to where the zebras appear, and then dial back until they are just gone. It doesn’t work in all settings, but generally that should get you close to your maximum exposure whilst protecting highlights 👍🏻
@@RoweFilms Nice tip but how to retain blacks nd whites both in a contrasting shot...is there any tip/trick to that as well..also..i am limited to cine-d in gh5 as i hav not purchased vlog-l , will that make any difference in the footage/DR i need ?
Yes all handheld. I couldn't recommend the Ninja V / Ninja V+ more. Superb just as a standalone monitor, which I'd never be without now as I can't deal with the small LCD on the back of cameras. And that's without even mentioning the recording functionality - 12 bit ProRes RAW output on the GH6. As a Mac editor I will only ever shoot in the various flavours of ProRes, for workflow reasons. SSD's are more cost efficient for media storage too. So if you shoot a lot of footage in high data rates, you end up saving in the long run. Far cheaper than CFE cards. I literally never go out on a shoot without them and haven't done for a few years now.
That juicy 10bit color in slow mo makes me wana cop a ninja. I'll probably just have to wait on that gh6 though. Can't wait to see what you do with it.
Thanks! Yeah it's really lovely. That might not be a bad shout at this point. Although the Ninja is awesome even just used as a monitor. All looking forward to the 6 aren't we 🤘
Hi there! Great test footage, exactly what I was looking for. I’m thinking about getting this lens (I do wedding videography with a GH6), I’m not a fan of zoom lenses but this lens in particular seems great. How is the autofocus? Is it fast? What about in low light? Thank you so much in advance :)
Definitely recommend it. Especially for weddings because it's extremely versatile. Definitely doesn't have a 'zoom lens' look to it. At f/1.7 its fast and great in low light. Can't comment on AF though as I never use it. Manual focus only
@@RoweFilms Thanks for replying, I was getting good results from my GH5 using Log and D cine, but then I saw your Kernow film and went out and got the Ninja V. The ProRes footage was just stunning. It's the ProRes codec that I'm having the issue with. I use the leeming LUTS on the Log and Cine D I'm very happy with the results. I'm not sure if it's user error or settings in the GH5.....
@@jamied7643 OK mate. So what is the issue you are experiencing exactly? VLog footage recorded in the Ninja shouldn't be any different workflow wise to VLog footage recorded internally. Is it exposing you're struggling with? Colour?
@@jamied7643 possibly. For all intents and purposes, as long as you’re not dealing with RAW outputs which you’re not, VLog is VLog, whether it be recorded in the camera in a h.264 codec, or in the Ninja in a ProRes codec. The workflow in terms of grading and the overall look of the footage should be the same. For you it could be an exposure and/or colour grading thing. For exposure, I always recommend ‘exposing to the right’ or ETTR on the GH5. Might be worth watching some videos on that subject. As for grading, key to it is experimentation and lots of trial & error. Perhaps try some different grading techniques, different conversion LUT’s. Keep experimenting and you will find YOUR way, as there is no right or wrong. Hope that helps 👍🏻
I'd certainly like to give them a try yes mate. I'll see what I can do. BGH1 vs GH5S is a tricky one. BGH1 has a smidge of extra DR, but other than that very similar output with only differences being form factor and functionality really. BGH1 is great for rigging up if that's your thing, being a box format. GH5S ProRes RAW workflow is a bit easier as it has its own LCD for camera operation whilst in RAW output mode. But for video/cine purposes, both do a great job and very little between them.
Not gonna lie...just saw this and thought, "you might not need the GH6 yet....just keep the GH5, but buy this lens." But nah, I can only imagine this lens AND the GH6 ?! Woooo-weeee !
The Panasonic Leica is f/1.7, whereas the speedboosted Sigma gets you down to f/1.2, so the Sigma is faster by about 3/4 of a stop, making it ever so slightly better in low light, and giving you a slightly shallower depth of field (if that's something that you want). The Leica field of view (in full frame terms) is approximately equivalent to a 50-100, which is a beautiful focal length. Personally I prefer this focal length to the wider Sigma. The sigma is roughly equivalent to a 25-50. Therefore, the Panasonic Leica 10-25mm f/1.7 is probably a better comparison to be made here, with a closer match in terms of equivalent focal length. So that's one you might want to look at instead. There are pros and cons to each, as always. The Leica's are more expensive, however we're talking about Leica glass, which is of superb quality. Sigma Art is not to be sniffed at either, mind you. If you are adapting lots of different lenses, or if you find yourself using different cameras and might want your lenses to be compatible across different formats, then the EF lens with a speedbooster route is arguably a more versatile one. Simply because the Leica lenses can only be used on m43 format of course. However, there are benefits to sticking with native glass too. Taking the speedbooster out of the equation means one less layer of glass in front of the sensor. Technically you are likely to experience less artefacts and funky things going on. If autofocus is something you happen to care about, then it will always perform better on native lenses. The native glass is far lighter and less clunky too. The speedboosted Sigma really is quite a lump. So overall, native glass is perhaps a better bet for run and gun, small, fast and light set ups. It's a tough one to call, and in reality either would serve you very well. Hope that helps
@@RoweFilms thanks for the help! Yess you already give a quite excellent advice. In my caseI have a gh5 with a 12-60 LUMIX 2.8, but I’m looking for a more cinematic look and people talk a lot about the sigma lens, but if I can get it with a native lens that’s better for me. What’s your opinion should I switch? You also said that 10-25 is a lens to consider. I’m more in the filmmaking area than photography. Thanks again and sorry to ask again, I’m a slow learner…
@@hectorarroyoburgos848 no problem. In my experience, the Sigma isn’t necessarily what you would call ‘cinematic’. Although it must be said, everyone’s interpretation of what it means to be ‘cinematic’ differs somewhat. In reality, there is a lot more than simply lens choice that goes into it. I believe the main thing people like about the Sigma, is the useful focal length of approximately equivalent to a full frame 25-50mm, with the versatility that comes with a zoom, and all at a fast f/1.8 (f/1.2 with speedbooster). It's not necessarily a 'cinematic' general aesthetic that makes it popular. A lot of people, when referring to a 'cinematic' look, maybe referring to what they perceive from a traditional feature film look, which often comes from shooting on film. That, and general shooting techniques often associated with a ‘cinematic’ look, such as shallow depth of field. It’s an aesthetic that varies considerably, with lots of variables making it up, but the 'film look' would probably be a fair interpretation of what many people mean when they refer to the term 'cinematic'. The problem with modern lenses in my opinion is they aren’t necessarily great for emulating a film-like look. Modern glass generally speaking is sharp and clinical. Especially so when compared to the more vintage look that came with shooting on film, and using vintage lenses. I must add that this can be a good thing, for certain lines of work, and if that’s the look you like. But I don't necessarily think it's what you are looking for, judging by what you've said. In my experience both the Leica and the Sigma would fall into that contemporary, sharp and clinical category. Shooting wide open, you can get some nice softness, and of course a shallow depth of field as they are both fast lenses. But the sharpness is why many people, including myself, will often use diffusion with modern lenses, to soften it up a bit, and get a bit closer to the look that many people are referring to when they say ‘cinematic’. For me, when I’m wanting to emulate film specifically (which is very often), my hands almost always turn to vintage lenses such as my old Canon FD’s. The vintage look is special, and can’t really be achieved with modern glass. What I’m getting at is, be careful not to think that either of these two lenses, or any lens for that matter, will instantly give you a ‘cinematic’ look straight out of the box. If that’s what you’re hoping for, you may find yourself a bit disappointed. Lens choice is just one piece of a big puzzle. I would even argue that lighting, of all things, is probably the single most important factor when it comes to achieving a 'cinematic' or filmic look. Nothing lit poorly is ever going to look anything close to 'cinematic'. Further, a well lit scene with good lighting, composition and depth, can look amazing regardless of the camera and lens being used. So my advice would be to always consider investing in lighting. It should always be near the top of the list, and never neglected, because doing so would pretty much render all other investments pointless. All that being said, there’s also no denying the versatility and usability that comes with modern, fast zooms. If you have the budget for just one new lens, a fast zoom is a very good place to start. With either choice, you will soon learn what you like, what you don't like, and where you want to go from there in terms of lens investment. In truth either would be a good start for you, and an improvement on what you have been using. Judging them purely on the images they produce, honestly there is very little between them in terms of general aesthetics and overall look. It's a bit like splitting hairs. They will both be a considerable improvement on what you have been using. So what it really boils down to then, when there's little between them in terms of the resulting image, is a question of format. Adapted EF mount lens with a speedbooster, or a native m43 lens. If I were you, before you decide, I would try my best to look a bit further ahead. Do you see yourself wanting the convenience, price, size and weight benefits that come with native glass? Or do you see yourself longer term, wanting to adapt different lenses, to achieve different looks that might not be easily achievable with native glass, and perhaps to open up more creative options? If it’s the former, you best bet maybe to stick with native m43 lenses for now. If it’s the latter, grab yourself a speedbooster, and enjoy the whole new world of options that it opens up. It can be hard to see into the future, I know. But when investing good money on your next filmmaking investment, it’s important to try and think about where you’d like to head, as much as is possible anyway. All the best mate
@@RoweFilms wow that’s an awesome information, now I understand some things better. I didn’t understand why people talk a lot about sigma is for the full frame proximity, etc. Thanks a lot for your time and for sharing your knowledge. I’m pretty much of a beginner in filming. I have a lot to think and decide. Thanks for everything. New subscriber here! God bless!
Simply stunning. If I was told this was red film footage, I would’ve believed. The dynamic range here is mind blowing.
Thanks! Haha not bad for a 4 year old camera hey!
Beaut of a lens. Just a quick blast here, but my initial thoughts so far -
✅ Perfect companion to the 10-25mm f/1.7
✅ Very useful & versatile coverage at approx 50-100mm FF equivalent
✅ Smooth, clickless aperture
✅ Nice shallow DOF & compression at f/1.7
✅ Very sharp and contemporary look
✅ Nicely controlled flaring
✅ Internal zoom that doesn’t extend
✅ Solid build quality and high quality feel
✅ Not heavy at all for what is a large unit
✅ Decent minimum focus at 0.92ft/28cm
✅ Minimal focus breathing
😬 Focus by wire, no hard stops, very short focus throw
❌ No IS, but really wasn’t needed with GH5 IBIS, even at 50mm
Update: on the point 'Focus by wire, no hard stops, very short focus throw'
Most LUMIX cameras via firmware updates now allow you to change the focus to linear, and even to change the throw in degrees, all the way up to 360. There's still no hard stops, meaning they still can't be used with wireless follow focus systems, and it's still not quite the same as the responsive feedback and realistic feel you get with a mechanical focus system. However, this is a massive improvement that makes native Panasonic lenses much more useable in the filmmaking world! Thanks Panasonic for yet another great improvement 👍
PS I'd still love you to make some dedicated filmmaker's lenses with hard stops and a proper mechanical focus system though! Who wouldn't love to see a Panasonic/Leica Cine Prime collaboration? 😍
Would love to see a video of you explaining your gh5 setup and what settings you use and maybe explain what you need to look out for and adjust in certain situations ect. Might be really helpful for me and others, not sure if thats the type of content you'd want on your channel but i'd definitely watch it. Great video btw, the music, the lut and your overall look was amazing, keep up the good work bro!
Many thanks mate and yeah I think that’s a great idea. I do get quite a few questions along those lines so I’ll try to put something together. Thanks again 👍🏻
@@RoweFilms do it 👏
loving this beach vibe video!
Thanks man!
Dynamic range on this camera is amazing on this footage. How? You are a wizard.
Haha thanks mate. V-Log L and ETTR is probably key there :)
@@RoweFilms You sure know your way around lumix cameras man, your footage is always very good.
@@jdsmedia thanks dude ☺️
Awesome footage that expertly reveals the capabilities of Prores from GH5 and the 25-50 lens. Thanks!
Thank you. Glad it was helpful!
Bilder sagen mehr als Worte. Genau so muss ein Objektiv präsentiert werden und nicht anders!
Vielen Dank!
Just got the g9 and looking at this lens. Beautiful footage, the contrast of blue and orange is very pleasing.
Thanks! 50-100 is actually a really nice range and I've been getting a lot of use out of it
I love your work. It’s really inspiring. I’ve got the 10-25 f1.7, it’s a beast. Can’t wait to buy this one.
Thanks mate!
May I ask you, what are your zebras’s settings for v-log ? Thanks 😉.
@@the_hateful_ben I use the zebras on the Ninja V and have them set to 80
@@RoweFilms thanks 🙏🏻.
Do you have any footage or project which u shot with Leica 25-50? Really want to see more videos from your channel
I got the 10-25 and it's perfect for general use as it covers 20-50mm FF equivalent. The look is indeed contemporary, with a lot of micro contrast. I love it. But then I also have the 42.5 F1.2 leica for portraits and the Olympus line up of 25 1.2, 75 1.8, 40-150 PRO 2.8 which are absolutely stunning. I also have the Lumix X II versions of the 35-100 2.8, 12-35 2.8. Spoilt for choice is an understatement. But I bought this set up over a long period of time, micro four thirds is the best.
Very good color correction!
bravo)
Just beautiful!!
stunning! thanks for sharing.
nice!! beautiful footage!!
Thanks a lot!
Beautiful 😊
Man.. I’ve loved every single one of your projects. Your music selection always has me captivated. If I may ask, what’s your resource for music? I feel like epidemic sound lacks this genre
Thanks dude! Sure, I use Musicbed and I'm also a partner with audiio so use their library also. Both are great for that atmospheric vibe 👍
Can you tell us how you always make the gh5 look like it has so much dynamic range
I'd say VLog is key. Exposing to the right to capture plenty of shadow detail and not letting anything crush to black. Hope that helps!
@@RoweFilms Thank you so much, I will try it getting better at exposing
@@lovefirst6157 decent exposure is absolutely key. You want to retain as much info as you can. As a general rule, set your zebras to just below clipping point. When exposing each shot, take it up to where the zebras appear, and then dial back until they are just gone. It doesn’t work in all settings, but generally that should get you close to your maximum exposure whilst protecting highlights 👍🏻
@@RoweFilms Nice tip but how to retain blacks nd whites both in a contrasting shot...is there any tip/trick to that as well..also..i am limited to cine-d in gh5 as i hav not purchased vlog-l , will that make any difference in the footage/DR i need ?
@@ur_himalayan_buddy v log will definitely help you here. Make the purchase. Best choice for the camera
Is this hand held?? Also how big of a difference the Atomos makes??? I have the GH6 but I am on the fence with the Ninja
Yes all handheld.
I couldn't recommend the Ninja V / Ninja V+ more.
Superb just as a standalone monitor, which I'd never be without now as I can't deal with the small LCD on the back of cameras.
And that's without even mentioning the recording functionality - 12 bit ProRes RAW output on the GH6.
As a Mac editor I will only ever shoot in the various flavours of ProRes, for workflow reasons.
SSD's are more cost efficient for media storage too. So if you shoot a lot of footage in high data rates, you end up saving in the long run. Far cheaper than CFE cards.
I literally never go out on a shoot without them and haven't done for a few years now.
That juicy 10bit color in slow mo makes me wana cop a ninja. I'll probably just have to wait on that gh6 though. Can't wait to see what you do with it.
Thanks! Yeah it's really lovely. That might not be a bad shout at this point. Although the Ninja is awesome even just used as a monitor. All looking forward to the 6 aren't we 🤘
Hi there! Great test footage, exactly what I was looking for. I’m thinking about getting this lens (I do wedding videography with a GH6), I’m not a fan of zoom lenses but this lens in particular seems great. How is the autofocus? Is it fast? What about in low light? Thank you so much in advance :)
Definitely recommend it. Especially for weddings because it's extremely versatile. Definitely doesn't have a 'zoom lens' look to it. At f/1.7 its fast and great in low light. Can't comment on AF though as I never use it. Manual focus only
Magnifique merci 🤠👍
Beautiful as usual. I wish I could get my GH5 footage to look like that.
Cheers mate. Whats the main difference in your footage as you see it? Might be able to point you in the right direction 👍🏻
@@RoweFilms Thanks for replying, I was getting good results from my GH5 using Log and D cine, but then I saw your Kernow film and went out and got the Ninja V. The ProRes footage was just stunning. It's the ProRes codec that I'm having the issue with. I use the leeming LUTS on the Log and Cine D I'm very happy with the results. I'm not sure if it's user error or settings in the GH5.....
@@jamied7643 OK mate. So what is the issue you are experiencing exactly? VLog footage recorded in the Ninja shouldn't be any different workflow wise to VLog footage recorded internally. Is it exposing you're struggling with? Colour?
@@RoweFilms Ok so am I over thinking this? The Leeming LUTs I currently use are still ok. Then it must be my exposer I'm struggling with. Many thanks
@@jamied7643 possibly. For all intents and purposes, as long as you’re not dealing with RAW outputs which you’re not, VLog is VLog, whether it be recorded in the camera in a h.264 codec, or in the Ninja in a ProRes codec. The workflow in terms of grading and the overall look of the footage should be the same. For you it could be an exposure and/or colour grading thing. For exposure, I always recommend ‘exposing to the right’ or ETTR on the GH5. Might be worth watching some videos on that subject. As for grading, key to it is experimentation and lots of trial & error. Perhaps try some different grading techniques, different conversion LUT’s. Keep experimenting and you will find YOUR way, as there is no right or wrong. Hope that helps 👍🏻
do you have plans to test the z cams? mft 4k/ S35/ FF and 8k?
Your job is amazing 👏🏽
focused only on video cine which would you indicate bgh1 or gh5S?
I'd certainly like to give them a try yes mate. I'll see what I can do.
BGH1 vs GH5S is a tricky one. BGH1 has a smidge of extra DR, but other than that very similar output with only differences being form factor and functionality really. BGH1 is great for rigging up if that's your thing, being a box format. GH5S ProRes RAW workflow is a bit easier as it has its own LCD for camera operation whilst in RAW output mode. But for video/cine purposes, both do a great job and very little between them.
@@RoweFilms thanks brow
Very very nice...
Thanks a lot!
Victoria , BC?
Exmouth, England!
Not gonna lie...just saw this and thought, "you might not need the GH6 yet....just keep the GH5, but buy this lens." But nah, I can only imagine this lens AND the GH6 ?! Woooo-weeee !
I used that combo in The Storm film. Absolutely epic pair 👌🏻
Amazing footage. Is this 10bit?
Thanks. Yes, 10 bit ProRes 422, via the Ninja V
What you think of it comparing to sigma 18-35 and metabones speed booster?
The Panasonic Leica is f/1.7, whereas the speedboosted Sigma gets you down to f/1.2, so the Sigma is faster by about 3/4 of a stop, making it ever so slightly better in low light, and giving you a slightly shallower depth of field (if that's something that you want).
The Leica field of view (in full frame terms) is approximately equivalent to a 50-100, which is a beautiful focal length. Personally I prefer this focal length to the wider Sigma.
The sigma is roughly equivalent to a 25-50. Therefore, the Panasonic Leica 10-25mm f/1.7 is probably a better comparison to be made here, with a closer match in terms of equivalent focal length. So that's one you might want to look at instead.
There are pros and cons to each, as always.
The Leica's are more expensive, however we're talking about Leica glass, which is of superb quality. Sigma Art is not to be sniffed at either, mind you.
If you are adapting lots of different lenses, or if you find yourself using different cameras and might want your lenses to be compatible across different formats, then the EF lens with a speedbooster route is arguably a more versatile one. Simply because the Leica lenses can only be used on m43 format of course.
However, there are benefits to sticking with native glass too. Taking the speedbooster out of the equation means one less layer of glass in front of the sensor. Technically you are likely to experience less artefacts and funky things going on. If autofocus is something you happen to care about, then it will always perform better on native lenses. The native glass is far lighter and less clunky too. The speedboosted Sigma really is quite a lump.
So overall, native glass is perhaps a better bet for run and gun, small, fast and light set ups.
It's a tough one to call, and in reality either would serve you very well.
Hope that helps
@@RoweFilms thanks for the help! Yess you already give a quite excellent advice. In my caseI have a gh5 with a 12-60 LUMIX 2.8, but I’m looking for a more cinematic look and people talk a lot about the sigma lens, but if I can get it with a native lens that’s better for me. What’s your opinion should I switch? You also said that 10-25 is a lens to consider. I’m more in the filmmaking area than photography. Thanks again and sorry to ask again, I’m a slow learner…
@@hectorarroyoburgos848 no problem.
In my experience, the Sigma isn’t necessarily what you would call ‘cinematic’. Although it must be said, everyone’s interpretation of what it means to be ‘cinematic’ differs somewhat. In reality, there is a lot more than simply lens choice that goes into it.
I believe the main thing people like about the Sigma, is the useful focal length of approximately equivalent to a full frame 25-50mm, with the versatility that comes with a zoom, and all at a fast f/1.8 (f/1.2 with speedbooster). It's not necessarily a 'cinematic' general aesthetic that makes it popular.
A lot of people, when referring to a 'cinematic' look, maybe referring to what they perceive from a traditional feature film look, which often comes from shooting on film. That, and general shooting techniques often associated with a ‘cinematic’ look, such as shallow depth of field. It’s an aesthetic that varies considerably, with lots of variables making it up, but the 'film look' would probably be a fair interpretation of what many people mean when they refer to the term 'cinematic'.
The problem with modern lenses in my opinion is they aren’t necessarily great for emulating a film-like look. Modern glass generally speaking is sharp and clinical. Especially so when compared to the more vintage look that came with shooting on film, and using vintage lenses. I must add that this can be a good thing, for certain lines of work, and if that’s the look you like. But I don't necessarily think it's what you are looking for, judging by what you've said.
In my experience both the Leica and the Sigma would fall into that contemporary, sharp and clinical category. Shooting wide open, you can get some nice softness, and of course a shallow depth of field as they are both fast lenses. But the sharpness is why many people, including myself, will often use diffusion with modern lenses, to soften it up a bit, and get a bit closer to the look that many people are referring to when they say ‘cinematic’.
For me, when I’m wanting to emulate film specifically (which is very often), my hands almost always turn to vintage lenses such as my old Canon FD’s. The vintage look is special, and can’t really be achieved with modern glass. What I’m getting at is, be careful not to think that either of these two lenses, or any lens for that matter, will instantly give you a ‘cinematic’ look straight out of the box. If that’s what you’re hoping for, you may find yourself a bit disappointed.
Lens choice is just one piece of a big puzzle. I would even argue that lighting, of all things, is probably the single most important factor when it comes to achieving a 'cinematic' or filmic look. Nothing lit poorly is ever going to look anything close to 'cinematic'. Further, a well lit scene with good lighting, composition and depth, can look amazing regardless of the camera and lens being used. So my advice would be to always consider investing in lighting. It should always be near the top of the list, and never neglected, because doing so would pretty much render all other investments pointless.
All that being said, there’s also no denying the versatility and usability that comes with modern, fast zooms. If you have the budget for just one new lens, a fast zoom is a very good place to start. With either choice, you will soon learn what you like, what you don't like, and where you want to go from there in terms of lens investment.
In truth either would be a good start for you, and an improvement on what you have been using. Judging them purely on the images they produce, honestly there is very little between them in terms of general aesthetics and overall look. It's a bit like splitting hairs. They will both be a considerable improvement on what you have been using.
So what it really boils down to then, when there's little between them in terms of the resulting image, is a question of format. Adapted EF mount lens with a speedbooster, or a native m43 lens.
If I were you, before you decide, I would try my best to look a bit further ahead. Do you see yourself wanting the convenience, price, size and weight benefits that come with native glass? Or do you see yourself longer term, wanting to adapt different lenses, to achieve different looks that might not be easily achievable with native glass, and perhaps to open up more creative options?
If it’s the former, you best bet maybe to stick with native m43 lenses for now. If it’s the latter, grab yourself a speedbooster, and enjoy the whole new world of options that it opens up.
It can be hard to see into the future, I know. But when investing good money on your next filmmaking investment, it’s important to try and think about where you’d like to head, as much as is possible anyway.
All the best mate
@@RoweFilms wow that’s an awesome information, now I understand some things better. I didn’t understand why people talk a lot about sigma is for the full frame proximity, etc. Thanks a lot for your time and for sharing your knowledge. I’m pretty much of a beginner in filming. I have a lot to think and decide. Thanks for everything. New subscriber here! God bless!
@@hectorarroyoburgos848 thanks man and no problem. Welcome!
Best of luck with your decisions 👍🏻
I stumbled across it and got stuck. Really great cinema
Thanks dude! 👍🏻
Die Musik ist doch viel zu laut!
Wie genau kann die Musik zu laut sein, wenn das Video im wahrsten Sinne des Wortes nur Musik mit ein wenig Hintergrundton ist? Erkläre es mal...
やるねー