I used to have a set of Zeiss Batis lenses when I used to shoot on FF Sony and a miss them dearly. I can't explain why, but they were truly marvels and the images they produced was a nice balance between refinement and character. I have a set of contax zeiss' and I love them too. I'm a bit of a Zeiss fanboy and the Otus is a dream!
Good video. For me the reason for a focal reducer on a S35 is largely so that I can get double the focal lengths from my lenses. It’s about versatility. Also, some vintage type lenses look very different in full frame vs S35.
To a certain extent I agree but at the same time, I definitely think the both for the most part can be interchangeable. Super 35 is more intimate in many scenarios but a lot of directors use full frame and even 65 mm to make some of the most intimate movies ever made take a look at emmanuel lubezki, christopher nolan and even terrence malick. Its just based on how the creator wants to use the format and how effectively they are able to use it. In most cases, the difference can be worked around, but in specific cases As youve said both have their advantages and disadvantages and I do agree that full frame is overused, especially since most consumer camera brands use it as a marketing scheme even to videographers. Theres a reason arris latest camera was a super 35, reds flagship is a super 35, and even panasonics cinema cameras. It will definately be the standard for cinema and it is versatile. Full frame will most likely continue to be the standard for commercials, but obviously DP’s with a superficial approach will use them even in movies, as it is a cheatcode to making subjects look ‘better’ in a comercial sense. With the dynamic range topic too, the arri alexa 35 has more dynamic range than most full frame cameras and even the xh2s has way more dynamic range than most full frame cameras, even outdoing Sony (sony’s almost 13 stops with nr, and fuji is just above 14 with nr). Either way, the video you created turned out to be quite beautiful. Id love to see a colour grading breakdown with the xh2s, cuz the look youve been getting with it is quite atmospheric. Also do you expose by eye? or do you use either in camera or external tools?
Yeah I think so too, for me I swap adapters like swapping lenses. The Batman used a mix of different sensor sizes and anamorphics and it felt seemless to me. My main point was that i felt super35 was more suitable for narrative work and full frame for everything else. Christopher Nolan is known for 65mm IMAX look, but I wasnt impressed with the trailer of his most recent film Oppenheimer, the dof and scope didn't feel right for that biographic drama, we'll see though. I'm a bit jaded by 'wow factor'. I'm waiting for Davinci Resolve to support Flog2 before I consider doing a tutorial because you have to make adjustments, that being said my previous one is super basic and does need updating. I expose by eye while checking histogram and exposure meter. Depending on your metering mode, I aim for -1 for moody shots (though you need NR), +0.6 to +2 for everything else since its still a digital sensor and you get better detail when exposing to the right. Histogram I check where the meat of the exposure guessing middle gray in combination with zebras to see which highlights are clipped and which i can ignore. Id love to use false color
@@cleverghostchili yeah I reckon super 35 is more intimate in the sense, that it can bring you into a moment and it’s little intricate details, where as lf and 65 are intimate in the sense of bringing you into another world and immersing you in it. It would be nice if just like in the Batman, and joker , movies should used different sensor sizes more often, for different scenes, could be more impactful for what the director intends to do with the moment. All cinema cameras can shoot native 4K now irrespective of sensor size so it shouldn’t be an issue tbh. Have you seen gh Alex’s lut? Not only does it convert the colours to arri but it also stops the highlights from being clipped, since fujis lut does so , and so does gafpgas despite the info being there. The lut also introduces really nice roll off, into the image. Definitely recommend it. How do you actually turn on the exposure meter? Do you just go to display settings on the xh2s? I’ve found the histogram but not the meter.
@@girishkhakurel2673 I've tried some of the rec709 luts but at the end of the day i just convert to arri log C and adjust for skin tones (usually green and red), the highlights are preserved very well. The exposure meter I believe has 2 settings, one is a vertical scale, which i think is too obtrusive, but you can also change it to simply a +/- number, which i recommend. Go to screen settings then display then check off Expo Comp (digit) or (scale)
@@girishkhakurel2673 I mean for my colorspace transform I treat flog 2 as arri log C. It has comparable dynamic range and color but you have to adjust some hues
28mm on APS-C is my preferred setup also… It’s the widest that you can go for moving shots and not have the edges of the frame distort and stretch while moving. I really like it , it allows you to get inside the scene with the people your filming. I am not sure how deal with the otus , it’s very big, but the results are beautiful, falloff is sooooo nice. I have the kamlan 28mm , not the best, in the future i ell go for the 7artisan 28mm 1.4 and adapt it to my Fuji . Your color grade is on point ,👍🏽 very nice !
I agree 28mm is the perfect balance. The Otus is super heavy and the only reason I deal with it is because focus is so smooth and ofc the image. My hand gets sore at the end of the day, then i open up resolve... :)
Quick question I'm going to purchase the xh2s as a gimbal cam but with a speed booster what would a 35mm equivalent be on the fuji. I have a monster and Komodo x I will be matching it to.
@@MonstroInLA so with the metabones .71x there would be still be a tiny crop short of full frame, so a typical 35mm full frame lens on a full frame sensor would look like a 37mm on the speed booster Fuji. Hope that’s the answer you’re looking for
@@cleverghostchili Best to use the 0.64x Speedbooster instead for fullframe lenses on smaller sensors. 0.71x is good for everything else really or if u dont need that extra wider fov and stop of light.
I love your artistic approach. As usual the 'right tool for each specific job'. I used a (cine rigged) X-H2S and a (cine rigged) GFX100S for an architecture related film project at the moment. DCI 4K in 17:9 (4096×2160) is massive :-) Different sensor sizes to stress the effect aimed for
@@cleverghostchiliyou say FF f1.4 is f1.0 on s35. f1.4 is f1.4 regardless of the sensor. The light doesn’t change. Unless you are saying an f1.4 lens on FF is a 1.0 lens on s35 after the booster has been adapted?
@@Eyeofkamau I think I lazily articulated for a simplified opening statement, I still find it difficult to state properly. What I intended was that the depth of field on f1.4 full frame is similar to the depth of field on f1.0 s35 (it's probably more similar to f1.2) But yes also saying that f1.4 fullframe is the same amount of light as f1.0 s35 after the metabones speedbooster. I assumed that the previous sentence specified that I was still talking about speedboosting
@@cleverghostchiliI have a Pocket 4k and S1 and the 12 bit BRAW has more color with the MFT sensor that the full frame S1 10 internal codec. Repeating it doesn’t make it true, the MFT Pocket 4k beats the S1 in colors all day and the Pocket is more accurate. Fuji colors are better than most cameras even at APSC level.
12 bit has more color depth than 10 bit, yes. But you're comparing apples to bananas - your argument is for color bit rate, when I am talking about sensor size with everything else being constant. Are you saying you will get same color fidelity with your bmpcc4k (mft) than a bmpcc6k (s35) or bmcc6k (full frame)?
@@michialharris1850 color depth or bit rate is how much color information pixels can capture. A 10bit camera will capture less color information than 12bit, particularly in the shadows and highlights. Higher color depth means that a shadow will look like a gradient of color ranges, rather than one smoothed out hue, this can affect how dimensional something looks like the different shades of the sky or the micro hues of skin. It also allows for much more flexibility when color grading. If you take a look at a camera like Red with 16 bit color you can see how much more color there is in the shadows as opposed to just a black shadow in a 10 bit camera
Otus was such a solid choice. Your taste in cameras and lenses is so similar to mine. Thanks for the amazing videos.
Glad to help boost other voices
The world NEEDS to know about this speedbooster!!
The metabones? It’s like the no 1 speedbooster
yea they know... it's been around for a bit.
I used to have a set of Zeiss Batis lenses when I used to shoot on FF Sony and a miss them dearly. I can't explain why, but they were truly marvels and the images they produced was a nice balance between refinement and character. I have a set of contax zeiss' and I love them too. I'm a bit of a Zeiss fanboy and the Otus is a dream!
The Otus spoils you. Once you go T* you cant look back
Good video. For me the reason for a focal reducer on a S35 is largely so that I can get double the focal lengths from my lenses. It’s about versatility. Also, some vintage type lenses look very different in full frame vs S35.
I use it the same way! love both 28mm ff and cropped
Great job!
To a certain extent I agree but at the same time, I definitely think the both for the most part can be interchangeable. Super 35 is more intimate in many scenarios but a lot of directors use full frame and even 65 mm to make some of the most intimate movies ever made take a look at emmanuel lubezki, christopher nolan and even terrence malick. Its just based on how the creator wants to use the format and how effectively they are able to use it. In most cases, the difference can be worked around, but in specific cases As youve said both have their advantages and disadvantages and I do agree that full frame is overused, especially since most consumer camera brands use it as a marketing scheme even to videographers. Theres a reason arris latest camera was a super 35, reds flagship is a super 35, and even panasonics cinema cameras. It will definately be the standard for cinema and it is versatile. Full frame will most likely continue to be the standard for commercials, but obviously DP’s with a superficial approach will use them even in movies, as it is a cheatcode to making subjects look ‘better’ in a comercial sense.
With the dynamic range topic too, the arri alexa 35 has more dynamic range than most full frame cameras and even the xh2s has way more dynamic range than most full frame cameras, even outdoing Sony (sony’s almost 13 stops with nr, and fuji is just above 14 with nr).
Either way, the video you created turned out to be quite beautiful. Id love to see a colour grading breakdown with the xh2s, cuz the look youve been getting with it is quite atmospheric.
Also do you expose by eye? or do you use either in camera or external tools?
Yeah I think so too, for me I swap adapters like swapping lenses. The Batman used a mix of different sensor sizes and anamorphics and it felt seemless to me. My main point was that i felt super35 was more suitable for narrative work and full frame for everything else. Christopher Nolan is known for 65mm IMAX look, but I wasnt impressed with the trailer of his most recent film Oppenheimer, the dof and scope didn't feel right for that biographic drama, we'll see though. I'm a bit jaded by 'wow factor'.
I'm waiting for Davinci Resolve to support Flog2 before I consider doing a tutorial because you have to make adjustments, that being said my previous one is super basic and does need updating.
I expose by eye while checking histogram and exposure meter. Depending on your metering mode, I aim for -1 for moody shots (though you need NR), +0.6 to +2 for everything else since its still a digital sensor and you get better detail when exposing to the right. Histogram I check where the meat of the exposure guessing middle gray in combination with zebras to see which highlights are clipped and which i can ignore. Id love to use false color
@@cleverghostchili yeah I reckon super 35 is more intimate in the sense, that it can bring you into a moment and it’s little intricate details, where as lf and 65 are intimate in the sense of bringing you into another world and immersing you in it. It would be nice if just like in the Batman, and joker , movies should used different sensor sizes more often, for different scenes, could be more impactful for what the director intends to do with the moment. All cinema cameras can shoot native 4K now irrespective of sensor size so it shouldn’t be an issue tbh.
Have you seen gh Alex’s lut? Not only does it convert the colours to arri but it also stops the highlights from being clipped, since fujis lut does so , and so does gafpgas despite the info being there. The lut also introduces really nice roll off, into the image. Definitely recommend it.
How do you actually turn on the exposure meter? Do you just go to display settings on the xh2s? I’ve found the histogram but not the meter.
@@girishkhakurel2673 I've tried some of the rec709 luts but at the end of the day i just convert to arri log C and adjust for skin tones (usually green and red), the highlights are preserved very well.
The exposure meter I believe has 2 settings, one is a vertical scale, which i think is too obtrusive, but you can also change it to simply a +/- number, which i recommend. Go to screen settings then display then check off Expo Comp (digit) or (scale)
@@cleverghostchili but what do you convert it from? From f log?
@@girishkhakurel2673 I mean for my colorspace transform I treat flog 2 as arri log C. It has comparable dynamic range and color but you have to adjust some hues
Any guesses if Lens X was Full frame or Super35?
Super35
@@m.i.andersen8167 correct sir good eye
28mm on APS-C is my preferred setup also… It’s the widest that you can go for moving shots and not have the edges of the frame distort and stretch while moving. I really like it , it allows you to get inside the scene with the people your filming. I am not sure how deal with the otus , it’s very big, but the results are beautiful, falloff is sooooo nice. I have the kamlan 28mm , not the best, in the future i ell go for the 7artisan 28mm 1.4 and adapt it to my Fuji . Your color grade is on point ,👍🏽 very nice !
Actully also like how the 50mm look on the GFX , and on full frame I like using the 35mm . Depends on the feeling …
I agree 28mm is the perfect balance. The Otus is super heavy and the only reason I deal with it is because focus is so smooth and ofc the image. My hand gets sore at the end of the day, then i open up resolve... :)
Quick question I'm going to purchase the xh2s as a gimbal cam but with a speed booster what would a 35mm equivalent be on the fuji. I have a monster and Komodo x I will be matching it to.
@@MonstroInLA so with the metabones .71x there would be still be a tiny crop short of full frame, so a typical 35mm full frame lens on a full frame sensor would look like a 37mm on the speed booster Fuji. Hope that’s the answer you’re looking for
@@cleverghostchili Best to use the 0.64x Speedbooster instead for fullframe lenses on smaller sensors. 0.71x is good for everything else really or if u dont need that extra wider fov and stop of light.
I love your artistic approach. As usual the 'right tool for each specific job'. I used a (cine rigged) X-H2S and a (cine rigged) GFX100S for an architecture related film project at the moment. DCI 4K in 17:9 (4096×2160) is massive :-) Different sensor sizes to stress the effect aimed for
I was thiiiiis close to buying a gfx50s2 then I decided to buy the Otus lens and I didn’t feel the need anymore
full frame and narration by clever ghost chili sayyyy whattttt
Can't stop wont stop
I have fringer pro adapter and AF works very good, hows the AF performance with metabones speedbooster?
I use manual focus, but the AF largely depends on the lens as well, older ef glass isn’t going to be great
@1:20 In terms of light, F1.4 is F1.4 on both full frame and s35.
@@Eyeofkamau yes with the exception of a speed booster that actually increases the light transmission by a stop
@@cleverghostchiliyou say FF f1.4 is f1.0 on s35. f1.4 is f1.4 regardless of the sensor. The light doesn’t change. Unless you are saying an f1.4 lens on FF is a 1.0 lens on s35 after the booster has been adapted?
@@Eyeofkamau I think I lazily articulated for a simplified opening statement, I still find it difficult to state properly. What I intended was that the depth of field on f1.4 full frame is similar to the depth of field on f1.0 s35 (it's probably more similar to f1.2) But yes also saying that f1.4 fullframe is the same amount of light as f1.0 s35 after the metabones speedbooster. I assumed that the previous sentence specified that I was still talking about speedboosting
@@cleverghostchilii got ya ✅
Sorry new to this. Is the metabones speedbooster and fringer adapter?
Yes, ef -xf
awesome vid
I Just Have one Doubt......That Can We Put on Sony's Full frame Lenses Like 24-70 Sigma Lens with this Adapter at Fujifilm Xh2s..........????
This adapter is for EF lenses only, doesn’t work for Sony E
What aspect ratio did you use in this video? Next level cinematography skill by the way.
2:39:1 it’s also in the description, thanks for watching
@@cleverghostchili oh ok thanks 👍
Which one your lens’s did you use for the full frame demonstration?
Same lens for both apsc and full frame. The zeiss Otus 28mm f1.4
Just curious, did you use an anamorphic adapter or did you just crop to achieve the anamorphic look?
Crop 2.39:1, also in tech specs at the end of video
👏👏👏👏👏
Song at 3:40?
I make all the music for my videos. Just some generic electronic BGM with rhythmic bass and organ
Full frame doesn’t have a color look, DOF yes but not a full frame color look.
Yes, not ASPC with a speedbooster, but with an actual full frame sensor you typically have more color depth and fidelity as the sensor is larger
@@cleverghostchiliI have a Pocket 4k and S1 and the 12 bit BRAW has more color with the MFT sensor that the full frame S1 10 internal codec.
Repeating it doesn’t make it true, the MFT Pocket 4k beats the S1 in colors all day and the Pocket is more accurate.
Fuji colors are better than most cameras even at APSC level.
12 bit has more color depth than 10 bit, yes. But you're comparing apples to bananas - your argument is for color bit rate, when I am talking about sensor size with everything else being constant. Are you saying you will get same color fidelity with your bmpcc4k (mft) than a bmpcc6k (s35) or bmcc6k (full frame)?
@@cleverghostchili can u explain color depth ?
@@michialharris1850 color depth or bit rate is how much color information pixels can capture. A 10bit camera will capture less color information than 12bit, particularly in the shadows and highlights. Higher color depth means that a shadow will look like a gradient of color ranges, rather than one smoothed out hue, this can affect how dimensional something looks like the different shades of the sky or the micro hues of skin. It also allows for much more flexibility when color grading. If you take a look at a camera like Red with 16 bit color you can see how much more color there is in the shadows as opposed to just a black shadow in a 10 bit camera
Don't rack your brains about what looks like cinematic, just be creative and make some nice films.

Thanks for the encouragement I'm just not satisfied with my own filmvibes for this one!