- I say San, you say Diego.
San
- Diego!
Alright, we're gonna do a little weekend road trip
to San Diego.
- Whoo!
- We've been trying to do more and more road trips
but it's been kinda hectic with the move and everything.
But we're finally settled down
so hopefully more adventures comin' up.
(soft club music)
So we have made it to San Diego.
It's super clean, it's super beautiful,
and there's still a whole lot goin' on here,
so I don't know, don't be surprised
if one day we're like "We're moving to San Diego" (laughs).
This lens has been amazing so far by the way,
and pretty much anything you point this thing at
it looks really really good.
I'm gonna be slappin' this lens on here
and also usin' this ND filter
just to get this aperture nice, wide, and open.
You have no idea what we're about to do today,
you're gonna be so happy.
(soft club music)
(door banging)
(grunting)
(door banging)
It's a great trip while it lasted (laughs).
Kinda hard to see but we got totally nailed.
Luckily I got these steel bumpers on here,
but there's a few cracks along here.
This thing popped off, the whole tire got kinda pressed in.
That's the downside of driving around Los Angeles
is even if you're a really good driver,
even if you're just stopped
waiting for a light to turn green,
I've been rear-ended four times in Los Angeles
just while I was at a stop.
But luckily I got steel all around so I'm good.
The other cars, not so much.
Anyways (beep) happens, but you know, no one was hurt
so that's the important part,
and I've been in accidents where people were hurt
and trust me if you get in an accident
and no one is like rushed to the hospital
that's a good thing.
What freaked us out the most was definitely
the dogs being in the back but they're fine.
Huh (mumbles)? Come here.
What'd you think of your first accident?
Your freaked out, huh?
Anyways back to the topic, why you guys are here.
This 85 millimeter f1.8.
Basically 95% of that footage was shot
with this lens on this EOS R.
Every time I throw it on I'm like,
man I should use this lens a whole lot more.
What's interesting about this lens
is its been around forever.
I believe this first was announced in 1992.
I was three years old oh my god.
But the thing that's cool
is that even though it's almost 30 years old
it still hangs in here.
Being as old as it is,
it doesn't really have any of the fancy
Nano US SIM technology or anything like that.
But it's a damn sharp lens and it works.
It's also $369.
Cannon also makes an 85 millimeter f1.2,
which I'm sure is an awesome lens, but it's close to $2,000.
I've never shot with that 85
but I do have the 50 millimeter f1.2.
It's so shallow that I'm like very cautious of using it.
I rarely dip down to that 1.2.
And since this is an 85 I imagine that 85 1.2
would be pretty difficult to use.
I bet it looks awesome,
but you're probably not gonna use it all the time.
Just like I don't like using the f1.2 on this all the time
because so many shots could come out looking blurry
because so little is in focus
that a majority of the shots just like whoa, too much.
85 is in that perfect kinda tight range
where it's not too close but it's not too wide,
it's definitely a close-up range.
It definitely works well in a close-up
but it also works really well
even if you're really far back.
You wanna get a full person in the shot
but still want that background blurry.
This is a great lens for that.
And I think that f1.8 is kinda that sweet spot for the 85.
It's one of the very few lenses under like $400
where I look at it and go wow, that looks sharp.
And it's definitely a super sharp lens,
there's a lot lenses where you open them wide open
and it just doesn't look that good.
But this lens, no issues with that.
It's super sharp and crispy,
but whenever I put on tight prime lens
it kinda forces me to get a little bit creative with shots.
Because not only are you forced to shoot in tight,
but also everything just looks like magically cool.
Just getting shots of food or coffee in the cafe,
everything just looks so nice.
Everything looked like a commercial.
A waiter at the restaurant looked over my shoulder
and saw what I was shooting
and was like "holy crap, you should shoot our commercial,
why's that look so good."
And really the big secret is this 85 millimeter 1.8.
Of course it being a f1.8
you're gonna get some pretty good low light performance.
Paired with the EOS R I was definitely able to see in places
where it looked a lot brighter on the camera
than it did to my eyes.
And whenever I have a tight angle lens, kinda like this 85,
I love just throwing in some foreground elements.
Just nice and super blurry in the foreground.
You can literally throw anything in front of the camera
and if you have this lens on there,
it's gonna look really really cool.
But again it being such an inexpensive old lens
there's gonna be a few downsides to it.
One, I don't believe it's weather sealed,
at least not nearly as much as,
like an L-series lens like this.
So I would refrain from taking it out
into the snow, rain, dust.
Also no image stabilization, but it being at a 85
every little movement, shake that you do up here in the lens
is gonna be amplified since this lens is in so tight.
So you're definitely gonna want
some sort of stabilization in your camera.
I was just using the digital stabilization in the EOS R.
Not the enhance,
enhance everything looks warp-y like whoa.
But on enabled
it definitely helped kinda smoothen things out.
Because I didn't have a stabilizer or anything
so I was just kinda holding on it like that.
If you have a camera with IBIS that would be pretty cool.
And I'm definitely hopin' that Cannon releases a camera soon
that has like a mechanical IBIS.
That would be awesome
because it'd become easier to use
a whole lot of these lenses,
but for now the digital image stabilization worked.
Now in terms of autofocus,
I would say it's really good, just not perfect.
You know with the EOS R
I didn't have any major complaints with it.
It was relatively quick to pick everything up
with face detection and all that.
It's not as fast as some of these modern crazy fast lenses
but it was fast enough
and accurate enough for me to be able to use it
pretty comfortably with dual pixel autofocus.
The other downside would also be
the amount of noise this lens makes, so listen to this.
(rattling)
You hear that?
It's definitely not the noisiest lens I've ever heard,
but you could definitely hear it.
Especially if you're using the audio
from the internal camera
or probably even if you have an onboard microphone.
I don't think it's loud enough to where it'll ruin
all the audio you try to record outta here,
but it's definitely audible.
Me personally, if I was using a microphone on the camera,
I would definitely stick to like a 16 to 35 millimeter lens
so I could be up close to the subject.
Anything past 50 and that subject is gonna be further away
and the audio is not gonna sound that great
from the onboard anyways.
Another slight downside to this
is that it is not the best macro lens.
Let me throw this one here real quick
and I'll show you what I'm talking about.
Whoa, this is super tight and close.
I should of fixed my hair.
Should of put on a little bit of makeup,
a little bit of powder, a little bit of foundation,
a little bit of blush, lipstick.
You could see my eyes are in focus
but even just here my ear is out of focus
so that's pretty cool.
See that's as close as I can get.
I can get up to here,
but you can't get any closer
without some sort of macro ring thing
that you put behind your lens.
So this is as close in as your gonna wanna get.
Just to give you guys something to compare it to,
this is what a macro lens looks like.
Boom!
And now here we are on the macro lens,
notice I can get in a lot closer
and I could actually just keep going.
My goodness.
Look at that detail.
I could just keep going for eternity.
This is the 100 millimeter 2.8 L-series,
I think it's right around $800.
So more than double, but awesome lens.
Check out this thumbnail, that's pretty dope huh?
Yeah.
Anyways, lets wrap this up, but kinda slowly
because I'm still at that nine minute mark
so I gotta draw this out a little bit longer (laughs).
I gotta say this is probably my favorite lens under $400.
Not useful for everything
'cause again it is a tight angle lens.
You try to vlog with this thing
you're gonna look like an idiot.
You'll be out of focus
and it's gonna be like a close-up of your eye.
But try to get some slick cinematic shots.
Get that super shallow depth of field.
Get creative, this is a good one.
Also, in my last video I asked you guys
what color backdrop I should get
for that third row up there.
You guys voted on,
purple.
Alright I'm gonna go out this week
and get myself a purple one.
That should actually look pretty cool.
I'm pretty excited about that.
Anyways, let's read some of the comments from my last video
which was the Cannon EOS RP
and what a disappointment that was.
If you guys missed that one,
the EOS RP is a $1300 full-frame Cannon camera
but it does not have 24 frames per second in HD.
It has 24 frames per second in 4K
but no dual pixel autofocus,
so it's kind of a iffy camera to try to use.
Armando says "That's it, I'm switching to Sony."
(laughs) Dude.
There's so many people that probably switched to Sony
after they realized what Cannon was doing with this RP.
Matti Haapoja says "Oh man when I found this out, so brutal.
The very reason Cannon got so big with video
is 24 frames per second and they took that away."
It's so weird, 1080p 24
was something that was just established
so long ago as a standard, that it's just so weird
that they're going back and pulling that feature out.
Again, not everyone shoots in 24,
a lot of people like to shoot in 30.
It's just such a basic thing
that they pulled outta the camera.
I have a friend who's getting one
so I will still be playing with it
and trying to review it when it comes in.
But man, I really hope Cannon
just releases that firmware update for it.
Cannon is always very innovative on how to cripple a camera.
Yeah.
I don't think any of us saw it coming.
A majority of us were so excited about the camera
until we realized that just that little feature
that all filmmakers that wanna have cinematic footage,
you know that little feature, they just (smacking).
Cannon m50 with speedbooster versus EOS RP.
I was originally gonna get the EOS RP
to be my overhead camera
but as soon as I realized
it doesn't have 24 frames per second in HD,
I was like nope cancel order.
Get another Cannon m50.
At least it has 1080p 24 frames per second.
Which is not something I ever thought I would have to say
about a $1,000 plus dollar camera (laughs).
I also decided to get white
because I used to have a black one, which was given away.
Got a randomized comment selected,
so congrats to Carlos out in Idaho
for winning the Cannon m50 and speedbooster.
That's coming your way.
Don't worry if you didn't win this one
because many more are comin'.
I'm tryin' to become like the lamer version of Oprah.
You get one, you get one!
Anyways I'm past 10 minutes so I am out, see ya!
(soft club music)