Film Jams is a channel about filmmaking run by filmmakers. We release film tutorials, tips & reviews with new videos every Tuesday and Friday.
Our videos range from how-to's, video tips, and video tutorials to reviewing new gear like cameras, lights, and accessories. We review gear like the ARRI Alexa Mini, the Movi Pro, Canon C-series cameras and lenses, follow focus' and more. Want to fuel your filmmaking flame, quadruple your knowledge, and reach your production goals? Check us out and please subscribe!
![Elfette Saves Christmas [Official 4K FULL Movie] - Holiday Films](/img/d.gif)
Пікірлер
What’s the difference between the different Ready Rigs I see on their website?… I see “Ready Rig GS”, “Ready Rig Vega” (which I think mentions “v2”) and “Ready Rig Nimbus”. But they don’t mention what’s the difference between them, and I can’t find any comparison videos on KZread :( The Vega and Nimbus have the same price (so I assume they’re equally good, but for different things?). While the GS (with pro arms) is like half the price of the. Vega or Nimbus…
Here are 5 additional things not to do on a film set: 1. Don’t Run 2. Don’t Disrespect the Actors 3. Don’t Counter the Director’s Decisions 4. Don’t Misbehave 5. Don’t Get Caught Lacking (a.k.a., Don’t Get Caught Just Standing and Doing Nothing)
Thanks for watching ! Good ones 👍
Sorry for those of you who got Cooked. I'm rockin the Rokies!
Haha! Nice!
I just watched this after picking up 5 Rokies (24, 35, 50, 85, 135mm) for AUD $2'280.00 delivered to my home. I'm a little bit excited tbh, they look fantastic for the $$$
Nice enjoy those lenses! Best bang for the buck 💥🎥 thanks for stopping by the channel!
If this was a movie I whould wacth it
Thanks we’d love to make it into a feature some day. 😁🎥🙏
Apart from that the most common mistake in such comparisions is that people who scream loud how actually good cheap gear holds up against the big ones is, they forget it is not about the smartphone used for this shot evereybody talks about, it is the funny fact that a famous film maker is using it for the shot, which makes it a huge story. If any extraordinary talented young film maker would shot on a smartphone nobody would care. So this type of comparisions between common high end lenses and cheap lenses are a little bit misleading. As lower your reputation as a film maker, ironically, as more you have to care about how professional your equipment is. Sad but true. That is a rule of thumb a very talented film maker with reputation told me once. And it proofed to be true. And it is a rule which none of the prosumer market seller or manufacturers will tell you, otherwise they wont sell any of their mid/low price lenses no more. If you are REALLY talented buy the best lens you can get for your parents money or even rent them and do not make funny youtube videos on cheap ones while swearing about that they are almost as good as the commonly used ones. By the way, this would accidently also help the market of the top high end equipment to survive against the cheap mass products rolling everything over.
I think I’ll respectfully disagree with pretty much everything you said. The fact is prosumer and even consumer film gear has gotten so affordable and the quality so good that most of our clients don’t even specify camera or lens requirements anymore like they used to do much more-so 20 years ago or even 10 years ago. Movies like The Creator (shot on a $3500 FX3) are quickly changing people’s perception of cinema and quality. Our rental house owns a variety of lenses and we have seen a continual downward trend of the high end gear being rented. My friends who own other rental houses say the same. The industry has shifted. Of course I myself prefer the Cookes over Rokinon’s if I have the budget and choice, but I’m not going to cry about it when I am tasked to film on Rokinons or other inexpensive lenses. I’m much more concerned about my lighting package and crew these days than the lenses or camera I’m supplied as they’re all so good. I think videos like this are exactly what motivates many younger filmmakers to dip their toes into the industry without worrying they don’t have a set of $100,000 lenses. You don’t need a set of Cookes to make a great film. Or to win an Oscar. You just need talent.
@@FilmJams No worries :) I am used to this disagreement. And my comment was very polarizing, I admit. Sorry for the mood on this day. Yes, your position (opinion) is very popular in this range these days and this is what makes this market so profitable. I am involved by myself as DP in international cinema production and rental houses etc. a lot and see a complete different development than what mainly gets promoted today (similar to what you say). The simple reason for this analytic misinterpretation or even sometimes wanted re-painting of the picture in my opinion (no offense) is that (like often with statistics) relevant data in relation get ignored. In this case it is simply the fact that the prosumer market including the user base was growing massively on the last decades, with soft borders to other markets. While the cinema top level tech gear market therefore keeps being the same size (static) or even gets down a little bit depending on the focus you take (FX artists growing, camera department static, other crew going down in some countries, etc). This does not automatically translate to "the prosumer cameras and lenses get more use in Hollywood now". Which is simply a wrong statement. Which can be proofen immediately. That is a misinterpretation of numbers and rather a "hope" which makes young filmmakers believe that things got easier today (which is a dangerous and wrong assumption placed far beyond reality). Of course rental houses experience more requests in mid range gear today, which is absolutely logical and includes some TV stations who try to get away with prosumer gear to lower costs on reports etc. This all feels like "a movement" and is great for many scenarios, but it is not a movement changing the requirements to produce an international cinema blockbuster. Again, it does not change the requirements for the top notch cinema production gear. Which hasn't and never had a huge market nor a big change (lowering) in requirements. It only changes the market - or better sad: "has filled the big gap" - below this level. That was the reason for its success. The big gap which existed before. Above nothing will change so quick because most of it has not been build to be replaced but to last for long. Most of the not electronical gear will be updated every 10 or 20 years if any and will be the most reliable and most sturdy available. My Panther dolly lasts since 20 years and will do so for the next 10-20 years. Same goes for our Master primes still holdig up with 8K. In opposite to the prosumer products mostly last no longer than 3-6 years. Depending on mounts and sensors which change or other things changing repeatly. Take a distant and realistic look at the overhyped RED story (now Nikon). And some of the most respected film makers go even back to film today. And our inhouse tests see immense differences in the image quality between different lens price levels (And I am sure many filmmakers too). For me you can't compare lenses development including 20 years sience and a 1000 bugs lens popping up some years ago without realizing that maybe not everybody is able to distinguish the differences between them. It is a little bit like the discussion about Wine or Coffee beans. There are people who can taste and value the difference, and others who can not. It depends what it is for. I mean, for KZreadrs, Vimeo Short film makers and TV stations the borders have been soften, yes. If you would say it this way, I would agree. But if you plan to contribute/subscribe to Cannes you better have no glitch in your artworks.
Something strange happens to the distant fine hair lines outlined left and right into the light of the bokeh test between the talent and the background.
What a good performing lens. Pixel peepers complain about it, but everything is relative. Having some good skill with framing and using light to your advantage seems to have paid off in your lovely pictures.
I agree! It impresses me every time I use it. Thanks for the kind words! And happy shooting 😆👍
What mode do you put the iPhone in so you dont get phone calls and texts message as you are recording?
You can use “do not disturb” or airplane mode. Or just turn cellular and WiFi off. All should work
You'r funny! i like your sounds and faces you do
5 years at clown school weren’t wasted! 😁
Подскажите, я получил такой и заметил, что он неправильно фокусируется. А именно то, что при кручении колеса от себя, фокус фокусируется на передних объектах. А если на себя крутить, то на дальних. Этого не должно быть. Есть правда одно решение, это разместить направляющие вверху клетки и тогда сам фолоуфокусу будет висеть вверх ногами и правильно фокусироваться. Но у меня направляющие расположены снизу и в таком положении фокусировка регулируется неправильно (
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!
Do the Rangers have the COUNTER CLOCKWISE ZOOM throw, Unlike the Cattas Which are Clockwise?
I’ll have to check! Thanks for stopping by the channel.
Love to know how your studio is doing in 2024! Hope you all are thriving. Thank you for the video.
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
Yeah... you forgot insurance, costs of starting a business, and the car. Because everybody needs a car these days... 😬
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.
Surely you have diffraction issues at F32!!
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.
GVM BD-60 RGB LED Light Wand (55cm)
All was shot at f1.8? Quality is great , I am watching all your videos of 24mm 1.8 and this one great quality videos
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!
Do you know if the Zeiss Ultraprimes will work with this adapter and the BM6k?
Absolutely they will work!
@@FilmJams Thanks. Have you ever tried?
thank you, i found this helpful
Glad it helped! Thanks for watching your Film Jams!
You'd need to get really tight on the subject to get rid of the straps. The straps would take me out, you'd have to crop in possibly.
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.
So what are you doing today? What's your latest project?
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!
I think You have a Tiny problem...
Oooof good line
@@FilmJams Hahahaha
I start my first day as a paid PA tomorrow and I’m really stressed. Usually confident but for my first time I’m nervous. Don’t have a car so rides will be a struggle for the month long shoot, but going to try my best just sooooo stressed out about everything. Praying it goes well tomorrow
Awesome. Enjoy the ride! And watch your Film Jams. You’ll be fine!
Hopefully it went well.
Great work - and you made me laugh, thank you! I really want to like the 20-35 as it seems so practical, my head says yes, but my heart... hmm? I'd love someone to make a wide lens for GFX with the Mitakon 65mm's character. That, I'd snap up in a heartbeat.
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!
I have that lens, and love it. Another con...It's not weather sealed 😢
Nice! Such a great lens. And good note…weather sealing is important! 😄📸
Holy shit,man. Please, for the love of God, tone down the humor. You’re a very knowledgeable guy/channel, with great advice….but it’s overkill with the goofiness. Your expression and tone keeps reminding me of the child snatcher from Chitty Chitty Bang Bang. Comes across more creepy than funny. Just being honest.
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!
They are incredibly similar. I just noticed that the cooke lenses have: Better microcontrast Better midtone contrast Lower contrast in the lower frequencies Less chromatic abberation. Also the rendering seems to be overall more pleasing with the cooke lenses. But i'm quite suprised by how well the rokinons did. Really great value for the price
Thanks for watching! You make some great observations. And I agree a very good value on the Rokes
Blurnout 😄
Blurrin’ and purrin’ !
The Arri is way too red, the colors look weird on both cameras.
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.
It seems cool but not enough ballbustng.
I agree! Wish we had shot more. Thanks for watching!
Very entertaining and informative!
Glad you enjoyed it! Thanks for watching!
Nice photos but a distinct lack of 2.8
Thanks! Luckily they make a cure for that. It’s called the 24-105 RF 2.8 😁📸
Great effects! Is this the same as the Filmora Blockbuster Pack?
No it’s the Big FX. They’re different
I'd say the 24-105mm f/4 is more than enough (almost can considered as "overkill") for most of the amateur users (such as me).
Thanks for watching. It’s a great lens for sure!
Anyone having the experience tiny little vibrations in video shot with their om6 gimbal, how they fix it?
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.
heard about magnet problem with pro max iphone’s.. is that what you faced too??
That was in the previous version. This one I didn’t have any issues yet.
Hey the link takes me to an Accsoon Cine Nano, is the link messed up?
Sadly INKEE discontinued these a year or so back. We added that link as it’s a similar product that we recommend.
Have you tried using OSMO Mobile 6 with a phone case like casetify, ?
I haven’t just the Apple case. Works great!
I swear, even being an f4 lens this can have that so called "3D pop" effect. Once you see it you cannot leave it behind. I love my copy!
It’s one of the most underrated lenses! I agree. So nice! Thanks for stopping by the channel.
Thank you for the video. Do you think it’s worth considering buying a used Sigma 35mm ART 1.4? Will it have a better image? In price it is equal to the new RF 35mm 1.8. So I wondered if it was worth using it for work? Everyone has their own opinion and is already confused
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: kzread.info/dash/bejne/loBpr8d8f8i0j9Y.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.
Awesome!! Thanks for all the tips!
Anytime! Glad it was helpful!
YESSS!!!! MY MOVIE IS FINALLY COMING OUT!!!!
You’re welcome Dick!
Hello please I have small 35mm lens with a 49mm thread and I want the mini matte box , hope the lens is not too small and will it work if I put the 67mm setup ring on it
Should work with the step up ring. But can’t guarantee it. Def make sure u can return. Just in case.
Dumbest movie ever 👎🏼
Dumbest comment ever ☝️
Lovely images! I can read you've shot this on the native 3.7K anamorphic mode. What was the delivery aspect ratio?
Appreciate it thanks! We edited in a 3840x2160 timeline.
idk how you can say that color was a bigger difference than that lens chart. oof. the 20 year-old S4 dogs the SP3 in resolution.
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.
I'm not impressed for lenses of that price point
Thanks for watching! They certainly aren't for everyone, and lots of great choices out there these days.
Does it work only with MIC signals or also with LINE audio signals?
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!! 🙏
No competition in color rendering and what it does to the face. S4 is cut above for sure and idk if the sp3 could even be cut in cuz the cast is so magenta.
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!
Hey I’m curious if we could create the light rays effect without hazer? Anyone got any idea?
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.