Chrille

Thanks a lot for the feedback!
 

Yeah, it's the size mainly. For fotos it's mainly kids and family, the idea for video is to shoot stuff that i can use later on in music videos, video essays or short films. So many things going on in the city that want to be archived for the future.
 
 

Thanks a lot for the feedback!
 

The other thing that occurs to me is to watch BTS videos of music video shoots.  These will include lots of tricks about how to achieve various looks, as well as showing what the final looks are.
Yeah, a 58mm F2.0 lens isn't so easy to manually focus, especially on a gimbal, unless you had a remote-follow-focus, a very good monitor with excellent focus-peaking controls (that can compensate for the softness when wide-open), and are practiced at operating a gimbal and follow-focus at the same time.
It's not that difficult to degrade the image in post to achieve at least some of the major optical aberrations that these vintage lenses have.  One power grade you could setup for yourself and just pull out when needed might include:
a power-window that darkens the edges (ie, vignette) and also adds a blur towards the edges (bonus points for mixing a normal blur with a radial blur) a lens correction that adds some barrel distortion a glow / haze effect to lower contrast (can easily be done with a blur that is put over the top of the footage at a low opacity) a very small-radius blur over the whole clip to knock the sharpness down a bit When fine-tuned, the above can do a pretty decent imitation of a vintage lens, so is worthwhile putting into your toolkit if you're a fan of the vintage look.
Now we have AI there are other things you can play with too....
The Resolve Magic Mask is able to identify objects pretty well now (see the red overlay over the man):

So you could potentially mask out the main objects and then do things to the background like darken it, blur it, make it a different hue, etc.  The Depth Map feature is also interesting:


I would suggest that neither of these is good enough for really strong adjustments (without visible artefacting - they're roughly like the iPhone DOF simulations) but in music videos the look might be appropriate.  
Filters and blend modes are definitely your friend with music videos.  If all else fails, you can pull a key of the skin-tones and then do whatever you want to the rest of the image.
With all these things, if the edges aren't great or it doesn't quite stand-up then just back off the opacity.  You should always be applying too much of an effect and then pulling it back to something acceptable.  Then you can A/B it with and without the effect and adjust to taste.  If you don't go too far and then pull back, you will always be used to the image without that effect and so it will always look like it's overdone.
Also, most colour grading breakdowns show that it's about applying a number of small and subtle adjustments that add up - it's very rare for any one individual adjustment to be significant, with the exception of colour space transforms and the basics like adjusting exposure and contrast and saturation.

I really liked your other videos. In this one i enjoyed the backlight shots and the studio takes with the soft light. For the projector shots i would have lit foreground and background seperately for matters of control and effect. The outside shots would also benefit of from a more dedicated photographic approach. In the video they appear in a way a bit like ENG shots and would benefit from more in your face framing and composition, close, midshot, wides, front, profile, tracking, static, overhead, eye level, from down up, all more distinguishable, evoking strong visual interest, simple and to the point. Like in your other videos.😊 @Chrille

Cool video, and nice use of a projector as light-source.
In terms of more normal narrative lighting, I highly recommend the WanderingDP YT channel for cinematography breakdowns, mostly from advertising but also some features.  He talks about the whole topic of cinematography, but mostly concentrates on camera placement in the environment, location design, lighting, blocking, etc all together because they interact, but the focus is on the light, which is why I mention it in response to your question.
Moving into more interesting lighting for things like music videos, I don't have a specific recommendation, but a couple of thoughts that did occur to me are:
Try to create more contrast
Music videos are where you can push things, and you can push the colour grade as well as the production design.  In the situations like the outside shots where production design is pretty limited, you can still push the contrast in post, you can push the saturation too (perhaps pushing only select hue ranges, and perhaps darkening them to fit the grittier vibe), and you can also do a split-toning effect (like having cooler shadows).  All these will create more contrast in post. Try to create more variation in the frame
This relies a bit more on equipment, but try having more sources of coloured light and really push the hues.  Maybe grab a second projector and shine one on the talent and one on the background but having different colours.  Try shining one on the talent from the left and one from the right. Another more general thought is to create a bit more variation in shots.  This involves shooting more angles, so would take more time, so maybe it wasn't in the budget, but getting more angles would really help in the edit.  Even if you could get the artist to do an additional run-through in each location and you just film it getting as many different angles as possible - high-angle, low angle, close-up, shot of their hands, focus on the background with them blurred in profile etc.  Then you can find any interesting little moments in that one and put them over the top in the edit.
In terms of inspiration, do a bunch of google image searches for inspiration, and save any images you like.  This is the images for the search "great music videos":

Lots of cool ideas in there.  Remember good artists copy, great artists steal!
Why don't you like the Helios for run-n-gun work?

Thanks a lot for your feedback - i have watched wanderingdp but will intensivy! You are absolutely right with all the inspiration and a stronger focus on concept. I feel bad answering your text with just one sentence , but i cannot say more than it's highly appreciatet and i will definitely look in those directions. 
It's just hard to capture the focus, especially on a gimbal. you can only move from side to side but not in and out. AF ist much more convenient 🙂 On the other hand it just looks so nice wide open...
 
You are also very right. I felt  pretty limited of what to show due to the winter and feel i played it a bit "too save"...

I recently shot this cover song and music video in 8K RAW on the R5C with a Great Joy 1.8x Anamorphic (50mm). My daughter sings here and I recorded the music, so I was occupied with a lot of things aside from the camera. Having said that, the camera performs really well for what it is and is a great addition for those who already own Canon glass. It's not going to replace a proper cinema camera in terms of the best DR or latitude, but it is an amazing tool and the in-camera anamorphic de-squeeze is a priceless feature. The video is uploaded in 8K so choose that for best quality:
 

Hey,
check out this little music video i shot on the Sony a74 with the helios 44 and sigma 18-35. Helios for Run&Gun - not sure i can recommend. Also did not manage to create the swirley bokeh so far. On the other hand it takes the digital edge of the sony footage which helped tremendously.
In the night scenes we also used the Tiffen Black Promist Filter 1/8.
I realized  i definetely need to learn more about lighting. If you can recommend any youtube channels i would be very happy. Of course i would also be happy about general feedback - and the artist would be happy if you would like or comment on youtube...
 

Hey,
check out this little music video i shot on the Sony a74 with the helios 44 and sigma 18-35. Helios for Run&Gun - not sure i can recommend. Also did not manage to create the swirley bokeh so far. On the other hand it takes the digital edge of the sony footage which helped tremendously.
In the night scenes we also used the Tiffen Black Promist Filter 1/8.
I realized  i definetely need to learn more about lighting. If you can recommend any youtube channels i would be very happy. Of course i would also be happy about general feedback - and the artist would be happy if you would like or comment on youtube...
 

Hey,
check out this little music video i shot on the Sony a74 with the helios 44 and sigma 18-35. Helios for Run&Gun - not sure i can recommend. Also did not manage to create the swirley bokeh so far. On the other hand it takes the digital edge of the sony footage which helped tremendously.
In the night scenes we also used the Tiffen Black Promist Filter 1/8.
I realized  i definetely need to learn more about lighting. If you can recommend any youtube channels i would be very happy. Of course i would also be happy about general feedback - and the artist would be happy if you would like or comment on youtube...
 

There has been an EXPLOSION in recent years of super affordable cine lenses. 
However most are prime lenses. But there are a few zoom options out there, DZOFilm perhaps is the most famous low / no budget option. 
https://www.bhphotovideo.com/c/product/1701864-REG/dzofilm_dzo_ff3580e_blk_catta_35_80mm_t2_9_e_mount.html
Some other options:
https://www.bhphotovideo.com/c/product/1684620-REG/chiopt_xtreme_zoom_28_85mm_t3_2_e_xtreme_zoom_28_85mm_t3_2.html
https://www.bhphotovideo.com/c/product/1708655-REG/sirui_jupiter_zm_pl_jupiter_28_85mm_t2_full.html
https://www.bhphotovideo.com/c/product/1772955-REG/venus_optics_ran2875plef_laowa_ranger_28_75mm_t2_9.html
Otherwise, the next cheapest options is pushing up into the lower end of professional priced lenses:
https://www.bhphotovideo.com/c/product/1292121-REG/angenieux_ez_1_pack_ez_1_30_90mm_cinema_lens.html
https://www.bhphotovideo.com/c/product/895001-REG/zeiss_2008_990_28_80mm_t2_9_compact_zoom.html 
  
Yup, something like say a black pro mist quarter filter would be a popular choice for many 
https://www.bhphotovideo.com/c/product/55639-REG/Tiffen_44BPM14_4x4_Black_Pro_Mist_F_X.html

This. Old zoom lenses on modern IBIS equipped cameras are a PITA to use if stability is a thing. And it is…was for me.
Yup. Can’t stand variable aperture lenses so first thing l do is go to the first constant and use that.
Another yup. There is something to be said for ‘getting it right in camera’, but this is one of those areas where it’s easy to get it so wrong and it can be difficult as a result to recover from. I’ll take a decent starting point and consistency every time.

A few thoughts...
If you are using the IBIS on the camera, an electronic lens that tells the camera the current focal length is hugely useful - this is one of the reasons I'm swapping to electronic lenses from manual zooms.
Cheap zoom lenses tend to have similar optical aberrations to classic vintage lenses, especially if you add some filters as has been suggested above and I definitely agree with.  Cheap often means variable aperture, but if you don't need the speed then stopping down to F4 or F5.6 will make most zooms a constant aperture.  Try the deeper DoF look if you aren't used to shooting with it, most feature films have deeper DoF most of the time but internet people seem to be both blind and in denial about this for some reason which completely eludes me.
Also, remember you can distress the image in post.  This gives the advantage that you can adjust the amount per shot.  If you shoot with anything even hinting at vintage then you'll be amazed at how variable the look can be - one shot looks completely clean and the next moment the sun comes out or you change the composition slightly and the image is a wash of flare.
If you're not sure about what is possible in post, just think of all those action blockbuster films that have a super-heavy anamorphic look to them and then realise that all the VFX work starts out being infinitely sharp and they were able to degrade to perfectly match everything else on a huge cinema screen.  Adding a bit of glow, blurring and vignette in post is super-simple and gets the job done.

I use a modern Sigma 28-70mm f2.8 as my principal workhorse for that very reason, to take off that digital edge (along with the OLPF my S1H has) and also for the subtle halation effect that a 1/8th causes (I’m a fan of subtle) but due to modern coatings, you get far less ‘vintage effect’ than an old lens, ie, contrast is reduced, but not massively and there is better sharpness towards the edges.
I appreciate sharpness is not something all desire but personally I prefer a more modern rendering so am not a fan of the soft look. Each to their own and all that…

Another option is to use any modern zoom and put a diffusion filter on it. This will "take off the digital edge," although depending on the type of diffusion filter it may have unwanted side effects such as speckled out-of-focus highlights in the bokeh. But it's an easy solution, one used by many.

The Tokina ATX Pro 28-70 2.6-2.8 in Nikon or EF mount could be a good choice here; the earlier model (which I have) has more primitive coatings and is very susceptible to veiling and ghosting flare. It's quite affordable on the used market; it was made in the 1990s. I used one myself recently with a Sony A7iii. It's not very sharp wide open and is pretty soft at 70mm but I like the look; the lens is based on an Angénieux design but you have to be sure to get the early model; the later ones had a different design; there's some good history and guidance here: https://cameragx.com/2018/04/11/the-truth-about-the-angenieux-28-70-af-zoom/

I went with the Carl Zeiss 40-80mm f3.5 for this very purpose.
I made a wedding film with it you can see here: https://firehorsephotographyfrance.com/2023-weddings/jenniedan
Day 01 and Day 02 anyway, ie, up to evening stuff on the wedding day. Not the drone obviously...
Quite a nice 'vintage' rendering without being 'too vintage', average contrast which gets very low if shooting into the sun/direct light sources and it flares quite a bit then also due to the lack of modern coatings. Has a bit of a glow to the result also.
I used it wide open at f3.5 exclusively and with the Fotodiox VND L-E Mount adapter plus a plate adapter that converted the lens to E Mount in the first place.
Tricky to stabilise handheld, even with Lumix which is regarded as one of there best so unless you wanted the more handheld look, on a gimbal, mono or tripod might work better.
I've decided the more vintage look is not for me so selling it if anyone EU is interested either at 100 euros with adapter, or 200 euros with adapter and L-E Mount VND. 

Hi everyone!
Another music Video coming along. Shot on the blackmagic 4K with Metabones and Sigma 16-35mm and Helios 55mm. On the outside shots i had ND filters with IR correction. Also there is a small DJI camera in the mix for all the shots from above ( Just put it in a stick) . On this shoot i really missed an autofocus feature.
Also i had some problems with the grading in the first half of the song as the lighting conditions were very different in each set up. Maybe i would have needed to have a closer look on the white balance. Maybe also a grading session in Resolve would have helped, i did the grading in premiere.
 

Hi everyone!
Another music Video coming along. Shot on the blackmagic 4K with Metabones and Sigma 16-35mm and Helios 55mm. On the outside shots i had ND filters with IR correction. Also there is a small DJI camera in the mix for all the shots from above ( Just put it in a stick) . On this shoot i really missed an autofocus feature.
Also i had some problems with the grading in the first half of the song as the lighting conditions were very different in each set up. Maybe i would have needed to have a closer look on the white balance. Maybe also a grading session in Resolve would have helped, i did the grading in premiere.
 

What i am really looking forward to are the information that will come out of the postproduction companies, as these will apply to most "prosumer" cameras.
Also "The Creator" is going in the direction of the "Sony" look and taking advantage of it - and many shots are just the basis for extensive VFX work.
I assume these cameras would not be used for a feelgood rom com where you want to get soft skintones from 45 year old actors...
 

wishlhlist: pocketcamera with a good formfactor and no rolling shutter - don't care wether m43 or apsc...

PDAF 🤤 

My guess is a new modular Pocket-style box camera with built-in NDs like the 6K Pro.

Thanks for the honest review - it's a pass...