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    • Thanks man, and for that Canon 85 I'd have to say the non-DS for me but that's all down to the 1.3 stops of light you lose when wide open basically making it a F2 in terms of low light photography. And since I shoot manually almost all the time it would really throw me off since each 1/3 of a stop click from f1.2-3.2 wouldn't correspond to one for the shutter speed or ISO. A live histogram like you can have with a mirrorless body would help to offset this but that is one more thing to keep track of instead of your subject.

      Watching that video I'm also wondering how specialized an effect this is. If you shoot a lot of photos with lights behind someone like their main comparisons the DS would be the way to go. The only other direct comparison shot is around 40 seconds in but here it has bright white flours which while not as intense can still be a decent light source compared to the rest of the scene. I really wish they would have done the scene at 4:19 with both lenses so you could see how they each render other types of scenes. With that big of an unknown I gotta give the cop out answer of saying that if I didn't have the issues with the light loss and was torn between the 2 I'd have to rent both and to see how they complemented my work.

    • That's amazing but I couldn't make sense of when it's actually available. BHphotovideo and Lens Rentals are saying soon, but I haven't found a date, price or place to pre-order the camera for purchase. Lens Rentals is saying their rental price is placeholder and may change.

      I tell you one thing: I am committed to being a YouTuber and I am completely sold on this being the best YouTuber camera, by far. I am so committed I am buying expensive lenses that are sitting in my closet waiting for it.

      I'm also immersed in the other stuff you have to do as a YouTuber. I bought a $1,000 Sennheiser microphone, an amplifier and sophisticated sound processor, and a recorder capable of XLR inputs and 96khz, 24-bit sound recording. I also bought a $1,200 studio light. This is getting serious.

    • Yes, I couldn't find hard dates either with a quick look around.

      Wow, I wish I could really get into shooting video - the EOS R and the 90D are both pretty fair video shooters - but I just can't seem to spend the time and energy in editing.

      Even though I do enjoy editing still images.

      You must be making higher quality youtube videos than many I see up there - I don't think they are all using hi fidelity sound and studio quality lights - indeed, many seem to record them on their phone or a GoPRo and just go with those. But what do I know, I just go there when I want to know how to do a specific thing or repair something.

    • I think the great YouTube channels that break through and get the views more often than not have become very sophisticated with their equipment — especially over the last few years.

      For example, in product reviews the biggest channel is Marques Brownlee's. He shoots with a RED and cinema lenses. Who would have thought a 26-year-old former ultimate frisbee player would rise to become one of YouTube's biggest stars and master light, sound and video like he has?

      Check this out. BTW, you and I? We NEED this lens!

    • I started following mkb and he has a full studio setup to shoot videos.

      He recently installed a couple of servers to store and archive his videos , think it ran to 140 tb !

      He, along with iJistine, shoot in 4K and it seems that is the quality expected now.

      New tv’s have YouTube as an app and who would want to watch a video on a 65” shot in 720?

      I’m fascinated by the whole YouTuber scene. Please keep updating as you get up to speed.

    • I saw that probe lens reported about a year ago, and kinda thought "huh" as a still shooter, but mkb's video demonstrated its usefullness very well. Great video. The movement really makes it's usefullness apparent.

      I had never heard of Laowa a year year ago or so. Then last fall before I went to Scotland I was looking for a wide angle lens for my EOS R and found the Laowa Venus 15mmm f2.0 Zero D lens for the native Canon R mount and grabbed it. I was quite impressed by it - small, sharp, light, fast, and makes really great sun stars. It is a totally mechanical lens, but at 15mm you only have to focus it once in the morning and you're good all day, and with LCD viewfinder it is really easy to see what is in focus with the fringing added by the R body. I am a fan of Laowa now. I have my eye on a couple lenses they make for the Canon M body, one is a 9mm zeroD wide angle lens.

      Here is an image of the Old Man of Storr at 15mm to show the DOF from where I am standing to the horizon shot with the Venus 15mm - you will have to click on this image to see it and when you do you will see the people further down the slope that are not apparent in this small image here. I think that will help understand the scale of this image then.

    • Looks like announcement July 2nd, shipping end of July. For the YouTube episode I’m working on, I’m shooting with the 50mm f/1.4 and it’s perfect, so I’m gonna get the Canon 50mm f/1.2 and hopefully that will be perfection+ when the camera comes.

    • OK, I've got doubts over a f1.2 lens.

      I can't see a use for it in anything I do. I've got a Sigma 35mm F1.4 and rarely step it down that far any more.

      What am I missing?

      The DOF wide open is so shallow for 'normal' people portraits if the eyes are in focus the ears probably aren't.

      If it's a bike or machinery shot at anything more than a 90 degree side-on angle part of it will be soft at 1.4.

      Even the Z 50mm f1.8 I need to go to F2.8 of better to get a whole bike sharp at a standard 45 degree portrait. It's about right for people portraiture wide open though - all depending on focal distance of course.

      Very long exposures? Enlighten moi?

    • I wish I had a 35 f1.2 because that's a focal length I usually do longer length portraits with. I can get a similar effect at least in terms of subject speration with my longer primes but then there's a much longer working distance needed which sometimes isn't available.

      Another use case would be available light indoor shots of small groups. If they lined up that would work, or for candids you could focus on one person and while the others wouldn't be in focus it still would give a good feel of the overall event. And if you could get a very emotive pose from that person in focus it still can be a strong shot.

      Beyond those there's my performance and concert work which is all available light and would benefit in many circumstances from the larger aperture.

    • That’s a very good question, Dave. I’ve been debating with myself for a month because I could buy the 24-70 f/2.0, saying that’s cinematic enough. Then I’d get bonus focal lengths.

      The application is live streaming for ADV — and YouTubing for a food channel I’m starting with my daughter. Most YouTubers I admire are using the 15-35 f/2.8 and calling it cinematic enough. While they’re filming they can just reach out to the camera with a hand and change the zoom level.

      It does look pretty good but when I backed off with a longer lens and wider aperture, I got rave comments for my ADV streams.

      In my kitchen for the food stuff with Anne, there’s a bay window in the background. It looks lovely all blurred out plus I don’t mind looking a little softer around the edges myself. I held off the lens decision until I got to look at it with the Nikon and 50mm f/1.4. When I showed it to Anne and Toni they went nuts over it.

      I can’t do it justice this time of day because direct sun on the bay window, but here’s an iPhone snap for now;

    • To orient, iPhone snap from other direction. I’d have trouble getting anything less than 50mm to work because of the distance the island imposes. It’s okay, I like the background to be narrowed to the region of the bay window.

    • It's an interesting one hey.

      I'm not getting the same Bokeh from my zooms as I do with primes unless I pull way back like JB says. Even then ... And that raises even more complications with video.

      This morning I shot online adverts for 2 cars dealers and used the 24mm /f1.8 S prime because I wanted that cinematic effect. But f1.8 was fine - even at 24.

    • Yeah - everyone will have a different opinion of course, but if I had a cool hoodie like that I'd want it fully sharp. Naturally the trade off is in the bay window, but a few stops wouldn't ruin it either.

      That hat OTOH ... :-P

    • So I recorded for an hour tonight and gave up on all the footage and the D850. What to do... Here are my problems:

      1. I move around a lot, forward and back, side to side, plus I pick up props and hold them up to the camera. I need to have good autofocus for video with face tracking. The D850 doesn’t have it.

      2. I want to be able to zoom in and out for different takes.

      It looks like the R5 will solve #1, but it won’t be out for a couple months. Argh. So maybe I buy the R for the interim and sell it when the R5 comes out?

      The 24-70 f/2 looks like it’s shallow enough, but the photo you saw was at 50, so 70 isn’t much more. Maybe move the camera closer to more like 30mm territory? Then I can has more zoom?

    • Or as I told several of today's subjects - KEEP STILL!

      I don't have a Nikon or Canon brand preference / loyalty. If I was starting from scratch it would be the new Canon. But I'm too heavily invested in glass to change now.

      Conversely a Z6 is $US1600 and is out there now, it's a primo movie camera and will work with your existing Nikor lenses with the adapter. The face tracking is good.

      But then it's from the Department of Redundancy Department.

      Maybe just keep still - er.

    • Hmm, I didn’t think of using the Z6. That’s what Jared Polin uses for his YouTubes and he loves it.

      Turns out Borrowlenses is now open for curbside pickup and they are near me, so I rented the Canon R with the 24-70 f/2 for 7 days, picking up tomorrow morning. Cool because I have a live stream tomorrow afternoon with Erik Buell! Will report on what I think.

    • This is by far the shortest of the six I recorded with the Z6 and S 24/f1.8 on the Ronin SC today.

      Just a quick note for a Facebook page.

      The problem with this kind of run and gun is always the lighting. Much darker inside than on the other side of the glass walls, but at least the subject is exposed.

    • Looks good to me, you still have some details out the window and overall production value is higher than the dealer TV ads we get here which are usually just completely indoors with a static shot.

    • Either too shallow or not shallow enough, you're at that point where enough of the background is present that it becomes uncomfortable and my eyes try to correct like it's them that's out of focus.

    • Oh my God this lens is the Incredible Hulk. I hope it makes me look badass. Man, the money and weight to gain that extra f-stop...

      (That’s a Canon 35mm f/1.4 on the left.)