- If I had the option to, this would be like
the ultimate camera that I would shoot everything on.
Downside is it's little bit big,
so I'm gonna make a little bit of compromise
and I think we've got a new, setup right here
that'll work out pretty nicely.
- I'm just not getting it, Gene.
- How do you think the footage out of this is going to look,
'cause we have our very basic Canon M50.
Then we put a speed booster just to utilize
a little bit more of that sensor.
You get a 15 millimeter so you can get nice like wide angle,
so it's perfect for vlogging.
- Perfect for vlogging.
Do you think it's gonna be any better quality,
or you think you're gonna notice the difference,
having this versus just like a Canon zoom on there?
- I do know that there's a lot of qualities
that come out of the lens that will definitely
be transferred over to the image.
'Cause the lens does have a lot to do,
not just in sharpness,
but like just characteristics of the look.
But then of course there's a serious limitation
to what the sensor does.
- I would honestly expect the lens
to effect the camera more than
the camera to effect the lens, if that makes sense.
The sensors are pretty good nowadays,
but I feel like the glass has a big effect.
I could be wrong.
Am I thinking wrong?
I don't know, that's what I'm thinking right now.
- To be honest, I really have no idea.
All right, so we have our
Sports Illustrated supermodel over here.
Oh yeah.
I don't know, what do you guys think?
Does it look better than it usually does?
Now I do have it closed down all the way to an f/22
'cause it's so bright out here.
So we do need to put some ND filters on here,
but for a cinema lens like this,
you need to put on a matte box to do so,
so let's do that.
So we got our Arri LMB25 matte box.
It's a clamp on, so we're just gonna slide that onto here.
But look at this!
May, this is so dumb,
but honestly I'm kind of excited to see
how the footage comes out.
All right, how many stops of light should we cut?
Right now we're shooting at an f/22,
let's try to cut it by a few stops.
One, two, three, four, five, six, seven stops
to get it all the way to an f/2.0.
So, seven times 0.3 is 2.1,
so that is going to be this ND filter right here.
Basically, each stop is 0.3,
so look at that, that is dark,
but we're gonna slide that in here.
And now the footage looks pitch black,
so I get to open it all the way up.
You know what's funny is we have like
seven of these ND filters
And I think like two of them is probably
the price of this Canon M50.
Uh, this is dumb.
I don't think anyone would ever do this.
Except for me, of course.
Let's see what this looks like now.
Also what's cool about this lens,
is it's a 15-to-40, and it's in f/2.0
all the way through, and it looks great.
You guys know how bad I wanna be in this pool right now?
I'm out here playing with this.
You better subscribe.
I'm sweating, it's hot!
I could be in there right now.
I don't know what it is about this shot.
That's the thing with lenses,
is like it's kind of hard to put your finger on it.
Why does it look so good?
But it looks good.
Who thinks Sam should be a swimsuit model?
- Everyone.
- Man, why do I keep doing this to myself,
coming to places that are so hot?
Next time, I'm gonna go to Alaska.
Now when it comes to usability,
I think there's two things that this setup really needs.
One is a tripod or some sort of stabilization,
because these cine lenses don't come
with any stabilization and this is such a lightweight camera
that it kind of does do a little bit of that shake.
And of course with a cine lens like this
we have manual focus,
so it would be nice to have a nice big, bright monitor,
so let's get that set up real quick.
This is the O'Connor 1030DS
and it cost quite a bit more than the camera also.
Let's try to set the record for
the most expensive Canon M50.
This is a SmallHD Cine7 and this isn't sponsored,
they're not paying me to do any,
but I love this monitor.
It's daylight viewable, it's sharp,
it's great for pulling focus.
We got Chris in the house,
so he's gonna be doing some stunts diving.
Double backflip,
triple backflip, - Triple backflip.
- what ya doing for us?
- Cartwheel, roundhouse, back handsprings.
- If you break your neck can I still put this online?
- Yes.
- Cool, that's all that matters.
- All right.
- I actually didn't think this through.
Usually I would mount this monitor somewhere on the camera,
but this camera doesn't have a cage
where I can kind of mount this to,
so guess I'm just gonna be hand-holding, I don't know.
Clearly this camera, not designed for this.
The final piece: microphone.
You guys think this is the most expensive Canon M50 ever?
Probably, we're at least getting close.
I mean with all this, come on.
Well, let's film some stuff with this setup here.
(upbeat rock music)
All right, enough of this nonsense,
I'm getting in this pool and then
we're gonna go and film a concert.
Let's go.
- Whoo!
- So with the M50, plus a speed booster,
plus a f/2.0 lens, that should, in theory,
give us pretty good low light.
And it's really dark here,
let's see if we can make anything look cool.
Oh, there's motorcycles there.
2,500 iso, all the way at wide open,
and an f/2 with a speed booster.
That's how that looked,
which is actually pretty impressive
'cause it is really, really dark in here.
What do you think: camera or lens?
- Since I started using this as my vlog setup,
things have just gotten way better.
It's a little inconvenient.
This can kind of get in the way of your face.
- It's not so bad though, huh?
- Yeah, it's definitely doable.
As YouTubers trying to make videos about how to level up.
- Oh yeah.
- How to improve.
This is how you improve.
- This is the solution right here.
It's not about the camera you guys, it's about this lens.
- And the matte box.
Matte box is key.
Even if you don't use it for filters, it just looks cool.
You gotta look cool.
Oh easy, easy.
See, I did the 1DX for the longest time, look at that.
Bam, left, right, left, right, super easy.
Oh, this is Potato's.
I don't know how Potatos does his intro.
(laughs) Hi everybody!
- [Potato] Hey, that's pretty good.
- Usually laughing at something, right?
- Anyway, there's a show going on inside,
let's see what that looks like with this beast.
(audience cheers)
(modern rock music)
(audience cheers)
This is our setup for this shoot.
The Monstro with the Movi Pro.
- My arms are shaking.
I can't hear anything.
This is amazing!
- Peter held the REDD with the Movi Pro like this
for such a long time.
- Ah!
(modern rock music)
(applause and cheering)
They go crazy for picks.
- Filming the concert last night
with the REDD Monstro on the Movi Pro was awesome,
but I think we should have just shot it
on this Canon M50, don't you?
Let's go shoot with this.
Chris is gonna do some dancing for us.
- Hell yeah.
- So we're going all out.
Sam's putting on the Easyrig right now,
go he can hold the gimbal up for a longer period of time.
And we're gonna go up and hike this mountain right here.
Sam, you ready to hike up this mountain?
- Oh yeah.
- Let's do this.
Two hours later.
- It's getting hard to breathe.
- Luckily, all I have to do is carry this thing around.
This is the Mimic system,
so I basically control the gimbal
and pull focus with this Tilta Nucleus
while Sam does all the hard work
and Chris will do some dancing.
Let's do this!
(new age piano and orchestra music)
The footage is actually coming out pretty sweet.
Chris does want everyone to know
that he does better dancing,
but the ground is kind of rough right now.
- Yeah, we're on like uneven terrain.
Like normally I'd be gliding like Michael Jackson
and grooving and (drowned out by laughter).
So just know that, all right?
- But I think it looks dope!
We got a little bit of sun left,
so let's just keep shooting and see what we get.
Honestly, I've shot with the M50 for a long time,
and I've never seen footage like that come outta there.
Sometimes you can totally tell that
it lacks a little bit of dynamic range.
And it's definitely not designed
to be put on a gimbal like that.
But I mean man, some of the footage
that came outta that looks so good!
Never seen footage like that come out of a Canon M50 before.
So yeah, this is what a fully rigged-out Canon M50
looks like, in case you were wondering.
Got a handheld rig on here,
of course you gotta have a Teradek
for that wireless video feed,
and I got a Core PowerBase battery
I think is what it's called.
But these are cool because they have a v-mount battery,
but also they have two P-taps
and also two USB ports,
so if you need to charge your phone.
But yeah, this PowerBase by Core,
awesome to have when you have
a bunch of accessories like this.
I did the math on all the accessories
we used with this Canon M50 in this video
and the total came out to over $62,000.
But to be completely honest,
I was impressed with the footage coming out of the M50.
And it wasn't very obvious at first.
It's not like you can just take a cinema lens,
slap it on any camera and have it look great.
But once you start adding the rest of the package,
you know the matte box, the ND filters,
the rig, the power, the accessories.
And after we had everything in place
to fully maximize the package I was like,
"Holy (beep)!
"I can't believe this footage
is coming out of a $500 camera."
But I don't know, what'd you guys think?
Were you guys able to tell a difference?
I always love testing out lenses because there's always
this mystery factor to them, you know?
It's not like a cut-and-dried
this is better than this one.
Like, I recently visited Arri to check out
some of their signature Prime lenses
and they showed me the difference between that
with like Cook lenses and Alter Primes
and all these, all their super high-end lenses.
And the differences between all them were pretty subtle,
but you definitely feel a difference from each one.
So I thought it was pretty cool seeing
how it impacted the image on something
even as simple as a Canon M50.
So does this setup make any sense?
Absolutely not!
I think of it as having a race car with 800 horsepower,
but the transmission tops out at 70 miles per hour.
To utilize the engine, you need a good transmission,
you need good tires, you need good suspension,
you need good aerodynamics,
you need everything to work perfectly together
to get that maximum performance, just like this.
Even if you have a REDD camera with
a super-expensive cinema lens,
it's hard to utilize that if you don't have
the proper matte box with
some super high-quality ND filters.
Speaking of ND filters,
thanks Peter for the Peter McKinnon series
Polar Pro filters.
ND filters are another one of those things where
it's not really sexy to think about,
and it's not very obvious the difference
between the super high-quality one
and some cheap one that you find on Amazon.
But after using some crappy ones for a while,
and when I first used this I was like,
"Wow, everything looks so clear."
Again, I'm not sponsored by Peter or anything.
It's just my two cents.
None of this is sponsored.
But let's wrap this up by reading
a few comments from my last video,
which was all about the Insta360 GO,
a teeny little action camera.
Top comment was,
"Can't stop laughing about
" 'This dog is waterproof.
" 'This dog is water-resistant.'
"Made my day.
"Now I can film 15-second intervals
"of the life that I don't have."
That's what always happens to me
with action cameras, you know.
I see GoPro's footage of someone jumping
50 feet on a wake board and I'm like,
"I wanna do that."
And I get the action camera and I'm just like,
"I'm gonna go film my dog."
"I'm on Potato withdrawal symptom.
"When's the new video coming out?"
It is actually kind of funny.
A few days ago in Phoenix I was hanging out by the pool
and somebody was like, "Hey, aren't you Potato Jet?"
And I was like, "Yeah, what's up?"
And he was like, "How come you're not posting
"more videos right now?"
So thank you guys for keeping me on my toes.
(laughter)
"Make a video about IMAX cameras."
Oh, you know what camera I really wanna test out
is the Arri Alexa LF.
You guys wanna see a video about that?
Let's do it.
Anyway, thanks for watching.
I'm gonna go vlog now.
Hey guys, so today we're gonna go to the park!
(half-time synth music)