- All right, it is time to
film our very first video here in the new set. Man, it feels so nice to have
this set just ready to go at any time. I just turn
on the camera lights and just gorgeous, beautiful. It's just been something I've
been trying to do forever. Like a year ago I was saying, what if I just got a big ol TV, like I see them for like a
thousand bucks at Costco, and I just mount it back there and depending on what kind
of background I feel like, I just load an image
and put it back there. And my plan was to follow that
up like maybe a month or two afterwards with this buildout. But here we are, like a
year after and finally. But anyways, today I'm
gonna be trying to answer the question I get asked
all the time, which is, what camera should I buy? And it's actually a pretty
tough question to answer because there's so many
different variables and features and things you might be
looking for in a camera depending on how you plan on using it. It's kind of like asking what
kind of car should I buy? Well, maybe the perfect car
for you is the Toyota Prius, you know, very good fuel efficiency. Or maybe you're trying to do burnouts to impress the girl next door, then maybe you want something
with real wheel drive action, may a challenge of V8, take off that traction
control. Do donuts and then get a fire post
and you're in trouble. So before I can answer your questions, I'm gonna have to ask you questions first. Is your phone good enough? I mean, it's a serious consideration now. I don't want you to go out
and spend a thousand dollars on a camera and realize
that your phone is better and you're like, "Why the (beep)." Definitely helps to think
about some specifics on why you want something different. Maybe you want to have
something that's wearable. Maybe you're trying to get
some really unique angles and perspectives out of a 360 camera. Maybe you're just trying
to get your footage to look more professional. Or maybe you are professional and have professional
requirements like time code and XLR inputs and all that crap. Next question is how
important is your auto focus? To be more specific, auto focus in video, because for me it is a very high priority. I'm filming myself with a fast f/2.0 lens, so you know. (Burp) sorry. But maybe you're more of a cinematographer and you pull your own focus
on manual vintage lenses or anamorphics or whatever. Then obviously that's going
to open a lot of doors and options to what kind
of cameras you can have if you don't need really
good video auto focus. Are you willing to color grade? Because if yes, you could
really maximize the performance out of a lot of these cameras
with dynamic range and color. But if you're just like,
"Nope, not gonna do that. I'm just gonna download the memory card and go straight up to YouTube
and I want it to look good." Then there's certain features
you don't really need, like 10 bit log. Also, what
kind of zoom do you need? Do you need something
really wide for landscapes or to be able to vlog and film yourself? Are you looking for
telephoto so you can do some bird photography? Do you need good image
stabilization in the camera? So obviously if you're on a
tripod like I am right now, doesn't really matter. But if you plan on
holding a camera like this and your hands are kind of shaky, you're on a tight angle lens, the stabilization that's
built into the camera can really help you out. Also, do you plan on
recording a lot of long clips like interviews or events
where you're just gonna plant the camera and let it roll? That's important to think about
'cause some cameras overheat if you let it run for a long time, and also some cameras
have a record time limit. Other things to think about
is do you need slow motion? What kind of lighting conditions are you gonna be filming in? Are you gonna be in a space like this where the lighting is very
controlled in a studio and even? Or are you gonna be
filming in the dark a lot? Do you need good low light performance? Or are you gonna be filming in the sun where you need a lot of dynamic range? Do you have plans on
filming video like this and then repurposing it for social media for that vertical video? What are your plans for recording audio? Do you have any size
and weight requirements for your camera? Do you plan on sending your
video to an external monitor like I am right now? And of course, what is your budget? And definitely keep in mind
that if you see a camera like this, a7 IV, which
is around 2,500 bucks, you definitely wanna
make sure you leave room in that budget for the
lens, extra batteries, memory cards, microphones,
lights, all adds up. So if you're still watching this video, be prepared to be broke. But you know how you can save some money is with our sponsor Storyblocks. Like you know how much effort
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just gone to Storyblocks and just typed in landscape, and first option, look at the gorgeous! 4K. Yes, please. Now we are in Norway. You know I've always wanted to go to space and now welcome to the YouTube studio on the International Space Station. Dylan, what the hell
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your Premiere project. So thank you so much to the Storyblocks for sponsoring this episode. Links down there in the description if you're interested in trying them out. And how do I get back home? I feel like I'm in a video game. Oh, there's a bird that flew by. All right, so we've made
it back to Los Angeles and hopefully by now you've had a chance to think about what you're looking for specifically in your camera. So let's just go through these questions. So is your phone good enough? Because these cameras on these phones have gotten so good
lately that if you have an outdated phone and you
wanna spend $500 on a camera, it's probably best to just spend that $500 upgrading your phone. And I would definitely say
having three lenses helps 'cause then you get your ultra wide, your wide and your telephoto lenses. A few years ago I might
have recommended a point and shoot camera because
they fit in your pocket and give you access to
like a one in sensor and some good zoom lenses. But now I'm just not seeing
a big enough performance leap from a phone to one of those in order to justify having another
thing to keep track of memory cards and batteries to charge. You still get a better
sensor out of those, but phones have gotten really smart with their algorithms from the
HDR to image stabilization. But there's still interesting things in the $500 price range,
like action cameras, you know a GoPro, you can mount those and take those to places you
normally wouldn't with a phone. But then there's cameras like the Action 3 which has similar
features but priced less, so definitely a good budget option there. I've done a video comparing the two before and there's also the DJI Action 2, which I thought was pretty
innovative on how it comes apart. If you're looking for the smallest camera, there's the Insta360 GO, which is just just ridiculously tiny and somehow it still
delivers a decent image. And speaking of Insta360, if there's one action camera
that I keep in my bag, it's the Insta360 X3. It is a 360 camera, so
it's different technology where it records everything and then you can pull
different shots out of it. But if you're trying to film yourself doing something like snowboarding, there is nothing else that
can get these types of shots. (BURP) Sorry, I've been burping so much, I've been drinking a lot
of this sparkly water because I'm trying to cut down on beer and I just need something kind of fun. Now if you really wanna
step up the image quality to something better, then you
need a bigger, better sensor and some right lenses
to go along with that. So that's when mirrorless cameras come in. You start getting a
shallow or depth of field, meaning that I'm in focus
but the background is blurry, you know, and with action camera, you're dealing with a smaller sensor, which means more of the
shot is gonna be in focus. So you don't really have to worry as much about auto focus there. But here I need really good auto focus and that is the biggest
reason why I use Sony because they just seem to have
the best auto focus in video. I just have a lot of trust
in the Sony autofocus system. But the Panasonic S5
II that just came out, they just switched over to phase detect autofocus technology, which is
the same tech that Sony uses and they are still improving it, but I would say that they
are doing a killer job with that camera. So I would say that is
a great option as well. Now when I talk about Panasonic, keep in mind that I'm talking specifically about the Panasonic S5
II because before that they were using contrast based auto focus so you could find some issues there, which is kind of meh like it works, but if you're relying
on it heavily like I am, it's just safer to go with something that has really good auto focus. So from my experiences, Canon's dual pixel auto focus is good, Panasonic's phase detect auto
focus in the S5 II is great, and I would say Sony's phase
detect auto focus the best. And of course I'm talking
about video auto focus. Everyone seems to do a pretty
good job in photo auto focus these days, but when it
comes to video auto focus like you're looking at right
now when I move in and out, but if you can live without
the best auto focus, then it really opens some doors. Also this year I do wanna check out Nikon and Fuji film because I
hear they're putting in some serious work there, but I personally have not had a chance to check that out just yet. If we go to our next question, do you plan on color grading? So if your answer is I
will not be color grading, then there's a lot of features like 10 bit and log profiles and
those things are something that you don't really need
and actually can drive the price down on a camera if
you're not looking for that. But you can get so much
more out of your footage if you are willing to even just do the bare minimum requirements
of color grading. That's just simply finding the right lot to apply to your footage. Let's see, a cloud rolls in
and your exposure changes throughout a shot. You have just so much more
leeway to correct for that. But if you shoot in those
flat profiles at 8 bit, it's just not enough information, it can break the image apart. So 10 bit just adds a lot more information and density in terms of
the color information. So when you expand it
back out, it looks great. And 10 bit color really
used to be a feature that was reserved for
the professional cameras. But over the last two
years we've really seen that 10 bit color come down
into the mirrorless cameras. And what was really exciting
about like the last six months is we really started
to see 10 bit entering, not the high end mirrorless camera, but even like the
mid-tier to low cost once like the $1,500 Canon R7,
really impressive camera. It is a crop sensor but
they also just announced the Cannon R8. Super excited to test this one
out 'cause it is full frame but still has 10 bit C log 3 for $1,500. And again, if you're not
planning on color grading, then there's the Cannon R50,
which was also announced. Definitely gonna be testing this one out because when I started
out this YouTube channel, I was shooting on the
Cannon M50 and this seems just like a modern updated version of it and this thing comfortably shoots 4K. So at this point, if you plan on buying a camera today, it should be able to at least shoot in 4K. Also, how much zoom do you need? And this is where we
start really looking at beyond the camera bodies
and the ecosystem of lenses. For example, my Sony A7 IV
is a full frame e-mount. So my go-to lenses are the
16t-35 f-4 for vlogging because it's a nice wide angle. Also the Tamron 35 to 150, F/2 to F/2.8, which is really an outstanding lens. And if I've got the room, I'll sprinkle in some fast prime lenses and I've got this 24 to 240, which has some really great
range but not super fast. And if you're on the Canon RF system, you have options like this 28-70 F/2. It's actually not uncommon
to pick out your lenses first and basing your camera
bodies based on the lenses. If you have an iPhone around, you can go ahead and just
zoom and you can actually see what a 24 mil looks like
and then out wider 13 mil, which is actually insanely wide and then what a 40 mil
looks like and a 77. Based on this you can kind of get an idea of what focal length you're looking for. And then also if you are not
using a full frame sensor like an APS-C or Super
35 that has a crop factor of maybe 1.5 or 1.6 and
then a micro four thirds out of like a Panasonic
GH6 is gonna be a 2X. So you gotta just make sure
you do the math on that. So a 16 mm on a 2x crop, like a Panasonic micro four
thirds is gonna be more like a 32 mm equivalent. Now if you have some shaky hands, the tighter that lens is,
the more telephoto it is, the more you're gonna see
that shake come through. Best way to stabilize the
camera, probably a tripod, right? Start there. There's a gimbal, there's sliders, but within the camera
itself there's a few forms of stabilization that's
built into the camera. So the most common being
digital image stabilization, our mirrorless cameras have
it, our action cameras have it, and the king of digital
image stabilization is probably GoPro. So the image that gets
recorded on the sensor is actually really shaky, but then it gets processed
afterwards to look smooth. But you definitely need a
good fast shutter speed, meaning on an action
camera, a lot of light. Once it gets darker, it's
not gonna look as good. But these action cameras and Panasonic and Sony have a little
gyro sensor in the camera. So the processor references that gyro data and stabilizes the image afterwards. Now Canon also has digital
image stabilization, but they tend to analyze the image instead of referencing a gyro sensor. So sometimes it could
track the wrong subject so the camera could look like it's moving even if it's on a tripod. Now there's some cameras where you could record unstabilized, but then it records the gyro
data so then you can go in and stabilize it in post-processing
software afterwards. So there's GoPros reel steady
and Sony's catalyst browse. It also cameras like the Red Komodo and Black Magic pocket cameras. They're getting firmware updates to where that also gets recorded. So that's actually a really cool option that we're starting to see more of. But there's also optical
image stabilization with the lens you might see
IS for image stabilization or OSS for optical steady shot. Now this is the Sony A7 IV. It's my personal daily driver right here. I have a 16-35 F/4 lens on here. The reason why I go for the F/4, which may not be as fast as the F/2.8 is because there's optical
image stabilization in the lens. Now with the Panasonic S5 II, the IBIS on here is so good
that I feel comfortable using nonstabilized lenses on here. That is where you actually
have to sensor that's in here and it kind of wobbles around. So I would say Panasonic
is kind of the best at IBIS right now because it's really good at stabilizing your tight angle lenses, but also when you pull
back out to a wide angle, it still looks pretty good
even if you're vlogging and moving around a lot. My Sonny A7 IV and A7Siii both have IBIS but it's not as strong. Meaning sometimes I can't even
tell if I have it on or not. And then there's Cannon
that has really strong IBIS. It's amazing how stable
a lot of your photos and videos will come out. But the downside is when you're
on an ultra wide angle lens, you could see the
warpiness, the IBIS wobble. So there's cameras like the entry level R8 which does not have IBIS,
but also on the high end, the Canon R5 C, which is a cinema focused
mirrorless camera, does not have IBIS because
generally high end professional cinema cameras, they would rather just
stabilize the entire camera like with a gimbal. My go-to gimbal is the DJI RS 3, and if I plan on setting
it up with a bigger camera and rigging it out with
different accessories, then the RS 3 PRO is
definitely nice to have that extra payload capacity and space. If you're looking for
something lower in cost, smaller in size and less in weight, then there's the RS 3 Mini. It has no problems with full frame cameras with a heavy 24-70 F/2.8, perfect option for maybe a
traveler or a solo shooter. But one of the features
I love about the RS3 and the RS3 Pro is that you can tap to lock all axis 'cause
it just saves so much time. It's not a hard thing to do but it's one of those
things that you have to do very, very often? So it just makes it that much
more of a pleasant experience. Now what's nice about
something like a drone is that it has a gimbal
built into the aircraft, which is why you could fly it around and it still looks like
a nice stable shot. For myself, I would definitely
go for DJI Mini 3 Pro, it's a good balance of
performance but being affordable and small in size. But of course you can
go up or down from there depending on what your needs are. But Mini 3 Pro solid, solid with a little
controller with a screen on, of course you could always take your phone and stabilize that with a gimbal. So you're relying less on the
digital image stabilization and more on the actual
camera being stabilized. Now the next thing to
think about is how long will you need the camera
to record for in one go? And there's certain cameras
that have a record time limit, so you definitely wanna make
sure you know about that, especially in older cameras, 30 minutes, sometimes it's in an hour. Luckily with the A7 IV, I
don't have to worry about it so I can just let it roll forever. But one thing to also watch
out for is overheating. Generally, most consumer
cameras have a operational limit of 104 degrees Fahrenheit,
40 degrees Celsius. So I try to test the
cameras in that temperature to see how long it takes
before it shuts off. But let's say you film
in really hot places and you do not wanna risk it overheating and shutting down on you. You know something with
a fan like the Sony FX3 or a Canon C70 has a fan. Panasonic actually even has a fan. This camera angle right here
is actually the Sony A7S III, basically like the same
sensor as the Sony FX3, which has more video focused features which I probably would've gotten the FX3, but this came out first. Even though I'm using
the A7 IV more often, what's really nice about the A7S III is that it has really good slow motions, so it has 4K at 120 frames
per second and full HD at 240 frames per second
and more frames per second that it records, the more
you can spread it out over a longer period of time and have super slow motion. Action cameras like GoPros
have really good slowmo these days. A lot of the mid-tier mirrorless cameras like the A7 IV seems to be a little bit limited there. Like this can do 4K 60, but even at 60 frames per
second it is gonna have a crop and the Panasonic S5 II can do some pretty high frame rates, but at a point you start losing
the auto-focus capability. But overall, to get
really good slow motion, you're gonna have to get something
that has high frame rates and still hopefully
maintain a good resolution without too much of a crop. Or you can just get absolutely crazy with the phantom camera, just shoot like 10,000 frames per second. And then there's also
like the Chronos camera that we tested out that one time. If you're trying to get crazy slow motion, then you definitely have to go into specialty slowmo cameras. Freefly just announced this
camera called the Ember that looks really interesting because the picture quality
looks actually really good. You shoot super slowmo, but it does start at $18,000. So you might be thinking, "Holy crap, that's a lot of money." Or you might be thinking,
"Well Phantom is easily 150K, so this is something in the bargain bin." It's all kind of perspective, but even iPhones HD at
240 frames per second. Hey, this is actually the
same slowmo capability as like the A7S III, but of course it's gonna look way better when you shoot it on a
proper mirrorless camera. Now moving on to lighting conditions. Right now we're filming in a studio space that's fairly controlled and
I get to balance everything. I bet if I just started
recording on my phone right now, it still looks decent
because of the even lighting. But let's say you get into some
high dynamic range lighting, like let's say there's a sun, very bright blasting onto
one part of the shop, but then you have some action taking place where it's darker. Big differences in exposure there. So a lot of dynamic range
will really help you out. Like the Arri Alexa 35 is
the craziest dynamic range I have ever seen. So if you have about a
hundred thousand dollars to put into a camera, then that's gonna give you
excellent dynamic range. And this is where I would
need to give a shout out to the Cannon C70 where they
had really good dynamic range in a fairly small body. But even down here in
the mirrorless world, by shooting log with 10 bit, you still have a lot more
access to dynamic range because then when you
shoot an 8 bit without log, then you're really clipping
your shadows and highlights and once those are gone, you
can't really recover them. And then what if you
have just no lighting, you're in the dark. Again, that's where Sony really
excels with their low light. But Panasonic S5 II has
also been really good. And I will say the main reason
I am filming with the A7 IV more often than the A7S III
is because dual native ISOs, so the A7S III hits its
higher base at 12,800 ISO, which is very high up there. But once you get to that point,
the image gets clean again, which is nice because in a
really dark place it looks good, but the downside is that you
don't hit that second base until you get all the way up there. Sometimes I'm just like trying
to get the 4,000 or 6,400 ISO maybe and it just doesn't
look that good on the A7S III. But on the A7 IV, the higher
base comes in much earlier and same with the Panasonic and Canons. So in that 4,000, 6,000, 8,000 territory, these actually look better. But also lenses are a
big factor in exposure more than I think a lot of people realize. A stop of exposure is
basically doubling the light. So every time you go from
400 to 800, that's one stop. 800 is ISO to 1600, that's another stop. 3,200 another stop, all right? It doubles. Now with lenses, exposure
comes in through F stops or T stops, right? We have F/4, F/16, F/11, F/2.8. The difference between an F/1.4 prime lens and an F/4 zoom lens
like I have right here is actually three stops
because F/1.4 to F/2 is a stop, 2.8 and then again 2.8 to F/4, I could drive that ISO
down from 6,400 to 800 and still maintain the same exposure. So if one of the things
you're really looking for is being able to film at night
and not have it look grainy, first of all, you want something that has good high ISO performance, possibly a dual native ISO so
it jumps to that higher base and also a fast lens. It's obviously a huge demand
for vertical videos these days, but we don't wanna shoot vertical, right? So you might have to take
a wide angle shot like this and crop it in to get that vertical video. Now that is one of the
things that's really nice about this Panasonic S5 II is that it has a open gate setting. So basically it gives
us a more square image. And so that's basically aspect ratio, basically the shape of the
video that you're creating. So Sony's we're here stuck at 16 x 9, which is fine, that's most common. But the new GoPros have
a very tall aspect ratio specifically for that
purpose of being able to extract a wide angle as well as a vertical video very easily. And also don't forget that
audio is half of video. So if I wasn't recording into
this microphone right now, you would just be listening
to the onboard microphone on that camera. And this sounds pretty terrible, right? So let's get back to this
microphone right here. For these kinds of cameras, the most common type of mic input is probably a 3.5 mm mic input. And also really useful
to have a headphone jack so that you can monitor
the audio with headphones and just make sure that
the sound that's coming in and being recorded sounds good. Now more professional
microphones like this one here has a three pin XLR cable, which you can adapt onto certain cameras with like a top handle adapter on the FX3 or even the FX30, Panasonic or Canon R5 C. That will allow you to adapt XLR input straight into the camera. Or what I do is record into
this external recorder. This is a Zoom F3. This can record two
channels of three pin XLR. But what makes us really
cool is that it can record something called 32-bit float. Usually when you're recording
audio you have to dial in those levels to make sure
you're not recording too loud or too quiet or else
you're gonna have problems but 32-bit float, you don't
even adjust the levels on it, it just records all of it. And we're starting to see
some really good microphone systems come out for 3.5mm, which is nice because not all of us want to adapt big
microphone with XLR inputs. I'm a big fan of the DJI mics, it's a little wireless mic right here that I can just clip on, really gave me a lot more flexibility on how close I have to be to the camera to record good audio. And I could just take a few and put it on a couple different people and it's just like really convenient. Aside from the mic jack, it definitely is useful to know what kind of video out options
you have out of the camera. So HDMI, this is a full
size, which is nice. Now there are some tiny micro HDMIs, which is very easy to break
and there's a lot of cameras where if you plug in an
HDMI into the camera, then you no longer get
the display back here. Also notice that I have
an ND filter on here, basically sunglasses for your
camera for when it's bright. I use these magnetic ones from Freewell so I can quick swap them. There are also variable ND so you could dial in the strength, but I personally like just
the single strength ones because they don't have
any issues with polarizers. And also what's nice about
this size is that it usually doesn't get in the way of a lens hood and this can help keep
glare out of the lens. So these are the Freewell
magnetic filters. I've been using them for
like the last couple years unless the camera has
built-in internal NDs, which is so nice. The Sony FX6 and the FX9
have this really cool variable ND filter that's electronic. So you don't have the polarizer issues, but you can still dial
in the strength exactly. Of course when it comes
to those pro cameras, then you're dealing with
bigger cameras with size and heavier cameras with weight. Oh right, and yeah, people
generally like to take photos. I'm clearly not a photo person. I'm much more of a video person. But yeah, like a lot of these cameras can also take incredible photos as well. Like that's another thing
that's nice about the A7 IV is it has more megapixels for photo. That's nice. The A7S II, I think it's 12 megapixels, so still solid. Like I rarely need more
than 12 makeup pixels. But if you like doing bigger
prints and stuff like that, maybe like a 32 mega pixel or
50 mega pixel or a hundred. And of course the final
question, the budget. At $679, I think the Cannon R50
is gonna be the new standard for what a camera in this price range is gonna be capable of doing. If you want that 10 bit color for that color grading capability, there's the crop censored R7 with IBIS and also the full frame R8. Cannon's always done a great job bringing some really good features
down to this price range. Good Canon colors and their
menu system is really clean and easy to understand. You know, for example, Sony can be a little bit more complicated and it takes part time to learn it. A little bit past that, to the two to 2.5K category, we start really getting a lot
of the bells and whistles. So Panasonic S5 II really gives us some video centric tools as well as their great
stabilization and 6K open gate. The Sony A7 IV gives us that
Sony technology that tried and true auto focus, but
also really high end codecs, which is packing more information. But of course this is
all based off my needs. The whole point of this
is that you can make up your own mind on what you're looking for. Like if you want that super slowmo, then the Sony FX3 would
be worth looking at. Let's say you don't care about auto focus, then there's the Black
Magic Pocket 4K for $1,300, you can get really high
quality raw footage. If you're always shooting on a gimbal, there's the Ronin 4D or the Canon C70 has really good dynamic range. FX9 has a great full frame sensor with that great electronic ND filter. You're gonna wanna make
sure that you leave room for the lenses. You know, I would
definitely say decent body with great lenses is
better than great body with whatever lenses. Let's go ahead and read some comments from the last video where
I kind of did a breakdown of how I set this whole space up. Steven says, why is everything
so expensive at this point? I'm thinking of filming
my videos with an iPhone. Yeah, so going back to
question number one, is your iPhone good enough? Network Chuck, dude set is amazing. Thank you. This is incredible. I'm glad that you guys like the set. I'm still kind of tempted
to move this table back to the original location
for that profile view, but this just feels so much
more natural when I don't have to turn my body and lean
into the microphone. So I don't know, it's a trade off. Lost LeBlanc says insane man. I'd say come back to Bali, but now you can visit from your office. Thanks Christian. And and as awesome as
it does look on the shot when I do just like look back there, I'm not fooled at all that that's real, like the just straight up
looks just like TVs there. But it's kind of cool
where when you film it, it can actually kind
of look like a window. Brendan says, this is so freaking cool. I love it. I record
everything in my tiny room. So this was just amazing to watch. Thanks. That is one of the
struggles is trying to make a small room look big. First couple people that
came and visited here, they all said the same thing. They're like, huh, it's smaller in here than I thought. But the perception that you can create with different focal
length with your lenses have a big play in that, so it's fun to experiment
and really just put that into practice here. But anyways, oh my god, this is such a long video now. So I'm gonna go now. See you later. Go ahead and feel free to click on stuff if that's what you wish. And thank you so much for watching. I'm gonna go eat vegetables.
I'm losing weight guys. I'm getting more in shape. I'll show you. Am I gonna get demonetized
for this? Maybe. But I just wanna show
you where I'm at now. You know, it's getting rid of it.
