- [Chris] This is a $2,000 camera,
this is a $500,000 camera,
and this is Chris.
Hi, I'm Chris, and I make unnecessary
Camera Comparison videos.
Why?
Because they get views, baby. (wheezes)
In this video, we're gonna take this camera right here
and kit it out with hundreds of thousands of dollars worth
of Hollywood Cinema gear,
and then compare the footage against a Kit lens
in an ultimate B-roll battle.
Hey, Peter McKinnon, are B-roll battles still relevant?
No, let's do it.
(duck quacks)
And because I don't want the heat
of the entire comment section
on the backs of my shoulders,
I've brought a friend,
this is Patrick Tomasso,
he's a really, really great DP,
he's also an amazing YouTuber,
and he knows more about the Lumix S5 than I do,
at least for now.
Okay, so let's slow down the pace of this video,
and let's jump into lenses.
All right, so let's talk about lenses here, Patrick,
we have a lot of different (indistinct)
that we can play with.
We have the Hawk Anamorphics here,
what do we have over here?
- [Patrick] These are the Leica Summilux,
so, this it's kind of like going
a little more Vintage Anamorphic style look,
if you've ever seen the movie "Moonlight,"
absolutely, gorgeous film that was shot
on Hawk Anamorphic, sorry.
And then if you wanna go over to a more clean,
spherical lens, which is probably a little bit more similar
to what we wanna play with later
on a non-kitted version of the S5,
cause' Leica actually makes a lot of the glass
for Lumix as well.
These are the Leica Summilux,
so if you ever seen David Fincher's, "Mank" or "Mind Hunter"
that was shot on these beautiful bad boys.
- I wanna play with these, so badly-
But we're not gonna do that.
We're actually gonna use these lenses right here,
because they're $50,000 a lens,
and that sounds more impressive.
- Okay, so the first thing we need to do is we need
to get this little guy into a nice cage,
which will let us put all of our bells
and whistles on this camera.
So, what cage are we using today?
- This is the SmallRig Cage, this is like 150 bucks.
So, let's throw this S5 right in there.
Look at me go, supposed to be a professional.
- [Patrick] While you do that,
one of the interesting things that we have to do here, now,
it could be confusing because Leica makes
a lot of Lumix lenses,
and L-Mount is actually part of an alliance
with Sigma and Leica,
but these lenses are actually PL Mount,
which stands for Positive Lock.
So, this is basically an Industry Standard for Cinema lenses
because they literally lock onto the camera using.
So, we have to use this little adapter
that's gonna go from L-Mount to PL,
and sort of defeats the purpose of Positive Lock,
because at that point we're kind of using
a regular lock, with a lock,
which doesn't make a whole lot of sense,
but it is necessary to use lenses like this,
so it will work even though it's not
the most fancy solution.
That and then we're gonna lock it.
The focus feel on these Cinema lenses,
like I wish I could just describe it to you,
it's like feather,
you can literally just gently put your finger on it
and get the focus out of it.
Which is, I mean, all of these are focused by wire,
which means there's electronics that are dealing
with that for you,
but this is like tactile feel,
that you'll know where you're in focus,
and obviously all the markings that we've put upside down
because of this mount has been a bit silly,
so I'm gonna fix that real quick.
Now, we are right side up, the adapter is working,
it is now time to go back on the camera,
not the best solution,
cause' this adapter's still a little bit wobbly,
but it'll work for us.
- Professionals. - Boom.
- Okay, so we've collected pretty much every single piece
that we need to build our camera kit
before we're actually gonna throw it on the Ronin 2 later,
so we can get some stabilized shots.
What do we have here?
- [Patrick] The first thing we need to do is-
Now, that we have it in the cage with the lens,
we gotta throw this on some rails.
And so rails are gonna allow us to add things
like this ARRI Hi-5 Follow Focus,
how much does this thing go for?
- [Chris] That kit, which includes this piece over here,
with everything is like $25,000.
Well, it's the best of the best,
there's obviously like more affordable, like Follow Focus,
but this is like, if you're working in Cinema,
this is the one that you want to use.
- This is a Teradek Bolt 3000,
so this is gonna let us do wireless monitoring.
So, when we're pulling focus,
the AC or the focus pull can sit there
and actually see what we're shooting completely wirelessly.
And what's interesting is like a lot of this stuff does,
like you said, has alternatives that are a lot cheaper,
but we're going for best of the best here
just to see what this thing is actually capable of
and the juxtaposition also,
of how this is literally a quarter of the price,
if not less like 1% of the price of some of this stuff,
- Yeah, yeah. - Like 2%.
So, it's just fun to put really expensive gear
on a really cheap Mirrorless Camera.
- This is the Matte Box from PolarPro,
the reason why we go-
This one is just like super light,
and then you can throw the NDs into it,
you can throw Polarizers,
and it allows you to get rid of sun flares on the front.
- What's great about this system is you're not-
Most of us will be typically used to Filter-Thread mounts,
but when this thing's all rigged up,
you just want something really quick
that can just sort of slide out.
So, when you gotta switch to a Polarizer,
or a different strength of ND,
or a different exposure stop, it's just boop.
- [Chris] Okay, let's build this.
(upbeat music begins)
Okay, so we have our final camera build out.
We ought to throw this on this,
which is well above our pay grade, for sure.
So, I brought in a tech,
Mitch, can you come and throw this
on the Ronin 2, please, for us?
Cause' I also don't wanna damage this kit,
- Absolutely. - At all.
(upbeat music begins)
So, I'm jumping in here to speak to one other item
that we're adding on top of this kit,
and that is the SmallHD 703 Bright.
This monitor right here is like roughly $3,200,
and this will allow the operator to be able
to like frame their shots,
and then we're gonna take another monitor,
where we're sending the signal with the Teradek
to a director's monitor, an AC monitor,
so they can pull focus there.
All right, so, we have our final setup.
So, This camera right here is around like $2,200
with the lens that you have over here.
And for this setup over here, we're $1,000 plus on this,
we'll put its final number like right here.
This is a beast, and I thought we would have
a little showdown of B-roll,
my friend, George brought some motorcycles nearby,
and we're gonna go and shoot some B-roll of some bikes.
So, let's do it.
(upbeat music begins)
(disc stops) - [Cameraman] Taking a break?
- Nah, I'm cool. (upbeat music continues)
Okay, so for the purpose of this test,
we will have the Ronin against the IBIS of the S5.
- [Patrick] Straight up, just IBIS,
I'm using a Kit lens, like literally a Kit lens versus
a Leica Summilux 18-millimeter, like $50,000 lens.
This is like a $200 lens compared to that thing.
We're also shooting everything in 60fps just to maybe level
the playing field a little bit,
cause' they have the whole Ronin-M,
so it's gonna keep things a little more steady for me,
along with the IBIS,
so, it should feel pretty gimbal-like
with 60 frames per second.
- So I'm thinking for the first shot,
where we're gonna do is follow Nick walking up
to this custom motorcycle, getting on,
and that's just like a one-and-done follow shot,
Let's try it.
- Ready, and action.
(upbeat music continues)
Cool. - All right, so this is
a two-man operation,
I will be operating the gimbal and the camera,
and I'll be just focusing on just the frame.
Brandon, will be my AC and he'll be pulling focus
the external monitor here.
- [Brandon] Yeah, keep rolling.
- Camera's rolling.
- [Brandon] And action.
(upbeat music continues)
- [Patrick] And then I think a second shot would be
like just putting the helmet on, close up.
(upbeat music continues)
Hand on the handle bars.
(upbeat music continues)
Okay, hands off the bars.
And hands on the bars.
(upbeat music continues)
- [Brandon] Still recording.
(upbeat music continues)
- [Patrick] So, when I yell action, you're gonna pull it up,
kick the kickstart,
and like turn the light on (indistinct).
And, action.
(upbeat music continues)
- [Brandon] And, recording.
And whenever you're ready.
(upbeat music continues)
- A workout and a half.
- Already know mine look better, but it's fine.
- Savage, savage.
- One thing that's interesting is because that's
an 18-millimeter lens and this is 20,
you're gonna see that his shots look a lot wider,
it's wild how much the two millimeters actually makes quite
a bit of difference.
- I wanna put this down, stop talking.
- All right, let's head inside.
Okay, be honest with me.
Could you tell the difference
between the $200 lens and the $50,000 lens?
I'll give you a second to think about your answer, yes.
In my personal opinion,
you could definitely see the difference.
Like the $50,000 lens looked really, really good.
But, there was one shot in particular,
where I actually thought the Kit lens looked better.
Kit lens, well done.
Ugh.
But, overall I think it's fair to assume
that when you're kitting a camera out
with hundreds of thousands of dollars a year,
that you're going to see an optical difference in the image.
But, I genuinely think both held up really, really well
in both circumstances,
and we're only seeing the differences
because we're putting the images side by side.
If you had saw that Kit lens shot, you'd be like,
"That's great footage of a motorcycle.
Great job, Patrick, bravo."
And if you saw the image shot with the higher Cinema Gear,
you'd be like, "That looks really amazing too."
What I think is so interesting
about Mirrorless Cameras in 2022,
and specifically the Lumix S5,
is that you get such great value for your money,
even with the Kit lens, that footage looks so great
and you can go and shoot a travel vlog,
or capture family memories,
and then you can start kitting it out
to be able to shoot commercials,
and be able to shoot client work,
and anything else that you want.
And it's the exact same camera body,
and you only paid, maybe when it's on sale, $1,500,
but generally that's a $2,000 camera body with a $200 lens.
Very, very impressive stuff.
If you guys like this video,
please press Like, it actually makes a difference,
Subscribe and hit the Bell, be notified for future videos,
and we will most definitely catch you guys in the next one.
A big shout-out to Patrick Tomasso,
for being a part of this video.
Please go show him some love with a subscription,
and also shout-out to Ontario Camera
for letting us play with all your expensive gear.
That stuff means the world.
So, if you guys have any rental needs and you're in Toronto,
you wanna shoot a short film, or a weird game,
or comparison video,
they're your rental house.
And then you can hit up Patrick,
and he'll give you great suggestions on pizza,
and tell you amazing things about Cinema.
I love you guys, thanks for being here.
We'll see you in the next one.
Bye.