omega1978

This is the trailer for a new wedding website. I have to reframe some shot, was made in rush 😁.
what do you think ?
All shot S1 with Canon 35 1.4, 85 1.2 on MC21 4k50p natural profil 

This is the trailer for a new wedding website. I have to reframe some shot, was made in rush 😁.
what do you think ?
All shot S1 with Canon 35 1.4, 85 1.2 on MC21 4k50p natural profil 

Thank you. 4k 50p. Yes the 35 1.4 II is not so old, but has a good 3D Pop, the 85 1.2 II is a bokeh beast ...

Warping with Ibis on wide angle lens is a problem. on the Jerusalema video i avoid this with zooming in to 20 mm.
without ibis the stabilisation on weebill s is very bad ( my crane 2 was much better )

Thank you for the compliment.
Yes, I do / did use IBIS on the Weebill S, but it is a bit complicated.
The first video (34 Vista Real), I used the full BODY IBIS, where all of the Axis are controlled by the IBIS of the S1. 
In the second video (38 Thunderbird) I instead used the Lens IS for the majority of the stabilization (I think it is three axis from the lens) and the body is handling the other Axis. 
Note that I am using the Canon 16-35 f/4 L which has lens stabilization, so you can set the S1 to let the lens do the majority of the stabilization. 
I did this for the second video (38 Thunderbird) because I noticed a lot more corner warping in the first video (34 Vista Real). I was told on facebook or some such place that by switching to lens IBIS I could reduce corner warping when shooting at 16mm on a gimbal.
So what I have found is using lens stabilization (primarily) with IBIS and then using stabilization in Resolve helps to get the smoothest motion for me.
I have tried using the Weebill S with IBIS turned off completely and it just isn't smooth enough, even with stabilization in Resolve.

Great footage to show dynamic range of S1. i have made real estate video only ones with an Osmo Pocket.
 
You use the weebill s with IBIS on ?
 

The 24-105 is a very sharp and contrasty allround lens ( If you like that ).
I have filmed a entire wedding with it
One thing that disturb me is a violett flare when you shot against the sun or any light..

Same setup as above, except with a DJI Phantom 3 Advanced for the drone footage:
 
 

S1 with Canon EF 16-35 f/4 L on MC-21, on a Zhiyun Weebill S. Shot in V-LOG 10-bit 4K 30p (slowed to a 24p timeline).
 
 

Last shoot with S1(all wide angle scenes) with Canon 16-35 2.8 on 20/4. Rest Sony A6500-6400, Mavic 2 pro.
Filmed in 3 hour, all in 1-2 takes 
and a more serius footage, in Vlog, need to complete with voiceover 
 

Last shoot with S1(all wide angle scenes) with Canon 16-35 2.8 on 20/4. Rest Sony A6500-6400, Mavic 2 pro.
Filmed in 3 hour, all in 1-2 takes 
and a more serius footage, in Vlog, need to complete with voiceover 
 

We just finished our cinematography reel from some of our favourite images that we have filmed over the past years. Some of the images were captured in the magic of the moment and some were staged with lights etc... SEE YA 2020!
 
 

Shot 70% shot the C70 and 30% A7SIII.  More coming soon! 
 

Hallo dear friends,
I wish you all happy holidays! This is a music video from a winter short we did this summer, which I dped with a friend of mine.
A charming journey of roughed up singer Stella who is rushing through the city on Christmas eve, with Schmalz and Pathos of German Schlager music.
I wish you all a peaceful time. It is family and friends we find most comfort in. But also some campy fun and vintage lenses in these harsh times. Lens used with my S1 is a beautiful and cheap Unitor (Soligor, Hanimex) 35-70 2.5-3.5.  C300 performed with conventional Walimex lenses. Love from Germany. Stay save, dear friends! best, Marty
 

S5 with Voitglander 35mm 1.2 @ 1.2 and DJI Focus
 
https://drive.google.com/file/d/1zfdaF9VfxQ5PPJ0PXOFygTKcnzbUHqjq/view?fbclid=IwAR18VZmAs2U24wxr0-3UnFtwKCxlr0mnmzgp3imrbngTKoN7CcwKqrM97zc
 

A small  Making of with some smartphone videos we took:
 

Like previous years I put my Christmas greetings. Gh5 and Rokinon 35mm anamorfaked (thanks Tito) 
Merry Christmas!! 

In Premiere Pro, you don't have to drag to resize. Simply right click the clip and choose "Scale to frame size" and it will match timeline resolution.
Make sure "Maximum render quality" is checked so it uses a good quality up-scaling algorithm (bicubic).
 
 

I have the best result in single point mode. now in the new firmware combined with human detection, but not tryed yet.
My second angle camera is the Sony 6400 with powerbank on a free monopod. No record limit and fast reliabel AF.

Regarding Sony colors (and colors for ALL cameras):
The colors coming out of my Sony a6500 are HIGHLY dependent on the lens I put in front of it.
Same thing with my Panasonic S1.  Different colors depending on whether I put my Canon 16-35 f/4 L, or my Panasonic 24-105 f/4, or my Minolta MD 50mm f/2. 

I have the best result in single point mode. now in the new firmware combined with human detection, but not tryed yet.
My second angle camera is the Sony 6400 with powerbank on a free monopod. No record limit and fast reliabel AF.

Panasonic AF motor scans with 480 hz the scenes and gives the DFD system faster information for contrast AF.
Sigma don´t have this technology..
But sometimes DFD truly sucks  ( no reaction in AF-C, only AF-S works fine )

Well... did you try instead to focus on the BACKGROUND??? Maybe that way it would lock focus on you by mistake ¯\_(ツ)_/¯

L
For pretty much most people this would make no sense (using crop lenses on FF bodies) and whilst I moved to the S5 from the XT3 for full frame stills, I will continue shooting 4k 50p for everything with the S5.
Why? Partly so I can slow any piece of footage really easily but also because my focal length for video is mostly anything from 75-150mm in FF terms.
This less than 300g lens gives me 85mm @ f1.4 which for me indoors, is just about perfect and with the full frame Panasonic 85mm f1.8 for outdoor use, I'll get something more like 125-130mm.
A lot of wedding videographers seem to like using a 70-200mm f2.8 for outdoor stuff, especially ceremonies etc, but these are 1-1.5kg lenses. I know I will be happier with the sub 400g 85mm f1.8 (when it arrives) and with 4k, reasonable latitude to punch in further if needs be, ie, I can skip lugging a 70-200 around.
I'm pretty much a prime person anyway and position myself based on certain focal lengths instinctively through use of said focal lengths.
If/when I use zooms, it tends to be as 'twin lens primes', ie, at the wide end or the long end but never anything in between. This is why I was considering the Sigma 50-100mm f1.8 because for my needs, it's a 'twin prime lens' of 75mm and 150mm in FF terms. Except it weights exactly half a ton and then there is still the adaptor to consider... My experience of such weight on a freestanding monopod is the taller it gets, the less stable it becomes and the danger is toppling and just moving it around all day is takes it's toll.
Back to the Sigma 56 though, as far as I am aware, the trinity of; 16, 30 and 56 are the only native L mount APSC crop lenses?
I will get the 16 next Spring, purely for dancing. A 24mm equivalent f1.4 is perfect for that for me and I will probably pick up the 30mm also to complete the trinity, for static evening speeches in the dark other than a few candles, which some clients like to give me to work with!
I will have the 56 in a few days so look forward to testing it. YouTube is full of reviews and tests of this lens on Sony crop bodies and M4/3 bodies but basically nothing on L Mount, but even from the Sony stuff, it looks perfect for my needs.