CINEMA VS DSLR CAMERAS – Which should you buy?

CINEMA VS DSLR CAMERAS – Which should you buy?

(upbeat dance music) – Good morning and a welcome to Keno City. (upbeat dance music) So we’ve been here in the
Yukon which is a territory, I believe it’s a territory not a province, in Canada. I should probably know that. It’s in like Northern Canada. I’ve never been this far north in Canada. Super cool place. Beautiful scenery. Beautiful place. And then we’re in this super
tiny town of Keno city. And it’s one of the coolest little towns that I’ve ever been to. So many interesting buildings and even more importantly
really interesting people. Super nice people. Interesting characters. It’s been amazing following the
people here getting to them. Just getting a glimpse into their world. And I’ve been posting
some of the BTS stuff on Instagram stories if you
don’t follow me on Instagram you can follow me now if you want to. I do a lot of kind of
behind the scenes stuff on Instagram stories. Shoots like these for example. But one of the things
that’s been asked a lot is about the gear that I’m using because it’s not the kind of
gear that I normally use for especially YouTube videos. So thought today we would talk
about the difference between cinema cameras and DSLR
mirrorless cameras. And here is what I’ve been
using for this project. (upbeat dance music) So for this doc project I am shooting on the Canon C300 Mark II. So this is, that’s the
brains of this set up is this C300 Mark II. That’s this portion of the camera. And this is a Cinema Camera. I guess they’re maybe like
second highest model, third? It’s kind of in the middle of
their Cinema line of cameras. But then I have a whole
bunch of other stuff kind of built around this camera also. First off, super important for me, this camera does come with an LCD screen, but it’s not the best. It’s not the best LCD
screen in my opinion. I don’t know like it that much. It’s okay, it works, it works fine. But I really like the
small HD 502 monitor. I’ve had this thing for like at least three years and I
really like this monitor. It’s got everything I need
from putting on a LUT, to wave form, false color, peaking. Anything and everything you want in a really easy to manage way. You can make these
things called pages which basically means you can
customize what tools, are being shown at that time. You can just flip through
the different customizations. Then a super super
important thing is the lens and this is probably one
of, if not my favorite lens. It’s the sigma 18-35 f/1.8 and it is just a really really nice lens. It’s super fast and
it’s a zoom lens so like you’re covering a really nice range and anywhere between
18-35 is usually where I like shooting anyways. So this is pretty much
the perfect lens for me. The only down side is
that it only works on cropped sensor or super 35 sensors. So it doesn’t work on full frames. So I can’t use it on my 6D Mark II or my 1DX II. But this lens I really like this lens. Then we have the microphone. We have the RODE NTG3, with
this little dead cat thing. That’s probably not the best windscreen but it works for now. But the NTG3 mic really good. High quality mic. This is the mic that I
use in my studio set ups all the time. And then If I’m doing something
like a documentary like this we want some audio
coming in the camera. Johnny is doing audio but, we want this camera to kind of have a, it’s almost like backup
plus we can also use it to sync and just figure
out what’s going on. So that’s what’s happening here. And then speaking of audio, something that a lot
of you might not know, especially if you’ve just
gotten into film stuff, what we’re doing here, because we’re shooting so much stuff and we have Johnny recording audio and then we have this
camera recording video. And then Johnny might
be also recording video, we want all those things
to sync up perfectly. We don’t wanna have to deal
with using some sort of third party plug in or
having to just fiddle around. Having manually match things. We want everything to sync
up so how do you do that? It’s by time codes. So you can actually force time code, a time code into this
camera which corresponds to the time code on the audio
that Johnny is recording and how that’s done is through this little tiny box here, it just jams into the time code here, and through that we’re
putting the same time code into the camera, into the audio, so it all syncs up when you’re editing. And then lastly I kind
of forgot to mention I’m using this. I actually don’t even
remember what company this is but it’s just like an articulating arm, so I can put this small HD
monitor wherever I need it to be whether it’s me filming down low, I have kind of in this position or if I need to be up
higher I can tilt it down. I don’t know if this is
the best articulating arm but I do like this one
cause you can replace a lot of the parts and
you can also build it out you can make it bigger or
smaller depending on what camera’s you’re using. And then with respect to stabilizers, we actually chose to shoot
hand held for this documentary. But this is pretty heavy,
it’s a pretty heavy set up. I don’t know exactly how many pounds, but it’s pretty heavy. It gets tiring after a while. Plus it’s a bit shaky
to just film handheld. So how do we fix that? I have the answer. This contraption right here. So this thing is called the easy rig, and it’s basically like a backpack, you put it on your back and then you put on the camera here, you strap on the camera here on the handle and then instead of your
hands taking all the weight of the camera your back or
your whole body essentially is taking the weight of the
camera and you can shoot for way longer have more stable footage. This will not only make your shooting experience way more
enjoyable, way more fun. But it will also payoff in the long run when you’ve saved your back. When you’re like 40 and
you don’t have all these crazy back problems. So this is my set up. This is what it looks like
when we’re out there filming this documentary. This is kind of my go to set up, if I’m shooting handheld, you can see I can just go lower, I can do hands off, obviously I’m not going to do that but I could, I could do that. If I wanna go higher I
could just lift it up. And my hands are not lifting
the camera really at all, they’re just stabilizing that’s it. Just stabilizing and moving around. I love this kind of set
up for handheld stuff. But let’s talk about
cinema cameras versus DSLR mirrorless cameras. So Cinema Cameras are
built just for video. That’s all they’re for. They’re built entirely for video, all the functions, the ergonomics. Everything is built with video in mind. And then there is DSLR mirrorless cameras which are photography cameras. They’re photo cameras, which more recently have
been able to do video. And nowadays the video
capabilities are really impressive even in the DSLR mirrorless cameras. So Cinema Cameras is like Red, Arri. Some of the Canon cameras. Some of the Sony cameras. Black Magic. There is a lot of
different Cinema cameras. And then DSLR mirrorless
like Canon, Sony, Panasonic, Fuji Film, Olympus. The list goes on. Nikon. There is a lot of them. So why would you choose a
Cinema Camera that can only do video and usually they also cost more? Well, sometimes you actually shouldn’t. But other times you definitely should. So let me explain. Cinema Cameras are built for
a certain kind of filmmaking where as the DSLR mirrorless
are kind of built, maybe not built but they because of their form factor
and the things they include they’re kind of used for a
different kind of filmmaking and these are not hard fast
rules or anything like that. But because of the way they
are they kind of fall into these different categories. So for example if I’m doing YouTube videos blogging and stuff I’m not gonna be I’m not gonna have a set up like this. It would be ridiculous. It would not be smart. So I’m using a DSLR, I’m using a 6D Mark II right now. But then If I’m shooting
a higher end commercial or a documentary or something like this, it doesn’t make sense
to shoot on something like the 6D Mark II. There would actually
be way more pain points to using in this camera than this, even thought this looks
kind of ridiculous to use. And then there’s other projects
like weddings for example, that you could really go either way. There is benefits and
negatives to both sides of using Cinema Cameras or
DSLR mirrorless cameras. So it’s not cut and dry. There are advantages to both sides and there is disadvantages to both sides. So why don’t we actually go through kind of the pros and cons of using DSLR’s and Cinema cameras, because in the end that’s
all that actually matters is that you know why you’re using the tool that you’re using and that you
know that it’s the best tool for you and for your project. That’s all that matters. It really doesn’t matter
what camera you’re using as long as you know why you’re using it. So let’s start off with
the pros for Cinema. The quality of the video is
definitely the best quality. It’s going to be way better
than the DSLR cameras for the most part. The colors, the image. The dynamic range is way better. There is so many different things with the image that are just a lot better with Cinema Cameras because they’re built specifically just for video. There is also usually
more options for recording with a Cinema Camera. So you could have
different flavors of codec so you can have a really
beefy codec that stores a lot of information. And you can have a lighter
one somewhere in between. There is more options
for the recording codec which also means that
there is better codecs on Cinema Cameras that’s
a really big thing. The codec is better so
that’s going to be better for color grading. It’s going to look better overall. The codec is also going
to be most like better for editing most likely but again, these are not hard fast rules. Another big thing is
the audio capabilities on a Cinema Camera like
this are a lot better So you have XLR inputs so you can put real microphones on here and not just like small microphones into the audio jack. You can jam time code things like that. You could never do on something like a DSLR which again is a
very specific use thing but it is another capability
that Cinema Cameras have and DSLR’s mirrorless
cameras don’t have. And then lastly, there
is a lot of pro features in Cinema Cameras, things like zebra, peaking,
maybe there is false color. You can monitor, so you can film in a flat log profile you guys know that’s the best way to film. But then you can monitor. You can add a LUT on there
that’s not actually being recorded but you just see
the footage through a LUT so it doesn’t look all
gray and desaturated. No contrast gross. You can actually see
what it might look like afterwards once you’ve
color graded a little bit. There is all these little Pro features. And you can kind of see all
these buttons on the side here. There is all these Pro features that are in Cinema
Cameras that you don’t get in the DSLR mirrorless. And then the pros for
the DSLR mirrorless side I would say. First of all size, they’re really small which has a lot of really nice benefits. Secondly they take photos, so if you need video and photo. Obviously you wanna go with
a DSLR Mirrorless camera. That’s a big bonus. Smaller file sizes because the codecs usually aren’t as beefy. You’re going to have smaller file sizes, which can be a really good thing, when you don’t actually
need all that information. They’re cheaper in price in general. They might have in body stabilization, which Cinema Cameras I
don’t think any of them have in body stabilization. And then lastly one of the
really big pros I would say is that you don’t need
as big a stabilizer, or support systems to
make this camera move or do different things. It can be a lot smaller in size, whereas if your camera is this big then you’re gonna need
a bi gimbal to handle this thing. And then the cons side,
Cinema it’s expensive. They’re really expensive usually and a lot of times it doesn’t even make sense to buy them because
they’re that expensive. They can be up to 50, 60,
100, 150 thousand dollars. Super expensive. That’s a big con to Cinema Cameras. They’re big and heavy. This is really big, compared to this set up, which again needs bigger stabilizers. Those are big cons, depending on what kind of projects you’re doing it can take up so much more time when you need bigger
stabilizers to do the movements that you want with a camera like this. Usually there is no auto focus. This one does but a lot
of the Cinema Cameras don’t have auto focus. And then no in body stabilization, which is I feel like they
should start incorporating that but so far they haven’t. A truck just pulled up, I hope that’s not going
to mess up the audio. Let’s go to the cons
of the DSLR mirorless. So first off, I would
say that the image isn’t as good as on the Cinema Cameras. Because they’re not just built for video, they’re also doing photography. You’re having to
compromise on some things. The codecs are a lot worse. They’re going to fall apart, faster when you’re color
grading and all that stuff. Less dynamic range usually. If you don’t know what dynamic range is look it up but dynamic range is massive for having a really nice image. Limited audio capabilities. Usually there isn’t XLR inputs and all that kind of stuff. You can’t jam time code in. And then lastly it’s a lot harder to build out a DSLR like I’ve
built out this Cinema Camera. Their ergonomics are kind of made so that you can add a monitor,
you can add microphones, you can add all of this stuff, whereas it would be really hard to attach all of these things on a DSLR. You’d have to have some sort of cage and it would just get awkward really fast. And actually Johnny who is directing but also shooting some of this tuff, he’s on a very different system, so why don’t I actually
go ask him what he’s using for his doc shooting. Guys if you don’t know this is Johnny. – Hello. – He’s kind of the creator
behind the documentary. Director. What are you shooting with? – This is the URSA, Black Magic URSA. – Cinema camera, cinema camera right? – Yeah, this is Cinema camera. Kind of heavy. – Why did you choose the URSA Mini? – I love the picture of Black
Magic Cameras in general. But the URSA is. I just like the Cinema Cameras so much. Just because it’s, with an Easyrig. This is not heavy. I can just walk around
like this and drink coffee and stuff so. – All day long. – Yeah, all day long. The image quality is so nice. The dynamic range. Just the ND filters built in, it’s an easy camera to do
cinematic style filmmaking with. – So why would you, why are you not, you’re using this camera
the GH5 for blogging. – Yeah, this camera it’s sturdy but, it’s not as sturdy as
like a cinema camera. It’s like. – It can break pretty easily. – It can break pretty easily. It has happened. It’s known to happen. – To some. At times. – Sloppy people. – But if you were to blog on this thing. – That is possible. I’ve been there done that. No worry it’s like. – So wait this is a blogging camera. – Yeah this is a blogging camera. This is the best blogging set up. You could do this all. – So everybody is going to
have a different opinion about cameras and don’t
worry if someone says that I don’t like your camera. Or I don’t think your camera is good. Doesn’t matter. It’s not the equivalent of someone saying, that I don’t like your kid. It’s not the same thing. It’s just a camera. I don’t also believe, buy the cliche it’s not the equipment it’s
the person behind the camera. I think it’s more
choosing the right cameras and choosing the right tools for your project, for your style. That’s really what matters. But it does matter what gear you choose. But it’s not saying that
one camera or one tool is the best tool for everything. Bigger more expensive more resolution is not necessarily better. You just have to find the
right tool for your job for your style. Alright we gotta get
back to filming the dock. Last night we got some super
really incredible footage. How you know if you’re
getting really good stuff is when you’re watching
what you’re filming on the LCD screen and it already feels like you’re watching a movie or a documentary. That’s when you know you
have some really good stuff. And one of the coolest
things I think about filmmaking is the fact
that you get to meet and talk to the most interesting people that you would never ever get to talk to or meet in person. And you just get to have these really cool conversations. I just really like that
part of documentary filmmaking especially. You just get to meet the
most interesting people that you would never ever
get to meet otherwise. Alright, for real I gotta
get back to doc filming so I’ll see you guys later. I don’t know if I’ll
film anymore videos here but I’ll see you guys back in
Toronto if not in the Yukon. Bye. (upbeat dance music)

100 thoughts on “CINEMA VS DSLR CAMERAS – Which should you buy?

  1. funny how most of the features of cinema you mention are in the gh5s… but great explanation anyway!

  2. I'm using a DSLR but preordered the BMPCC 4k. The ability to record directly to a ssd drive was what made me decide to go for that camera.

  3. Thank you for making this video. Youtube has been needing this for so long now, because of the fact there are so many people sharing opinions about photography focused cameras, while their interest is heavily leaning towards video. It's literally exploded tons of mixed and false information, when people think they are talking about one subject, when one of the contributors are hiding the fact he/she has his/her focus mostly on video. Then you also got the ones who are undecisive, having one insecure foot into photography and one insecure foot into videography, yet want to share all kinds of false/irrelevant information as well.
    Personally I don't care what others do, as long as they are honest about their own intentions and choices. It's so damn hard having any sensible conversation online, about photography, after photography focused cameras got added video features. Most people actually show that they see it as the same, when there are so many differences especially in workflow.

    I like having youtube as a source of inspiration, but I have to say – I'm pretty fed up with all the people who want to be the next "thing" on this site, and it has to happen yesterday.

      If it was up to me, I'd like all video features removed from any photography based camera body, because it makes sense to separate it completely.

  4. Excellent gear breakdown. Totally agree about the cons of using cinema cameras- I love the image quality but all the attachments and bigger gimbals really slow you down. Like you said, it just depends on the project and how you're using it

  5. Nice comparison, it's always interesting to see how different people approach the same art. I agree that meeting people is one of my favorite parts of being in the industry!

  6. Matti, you keep referencing "DSLR Mirrorless Cameras" – aren't DSLRs and Mirrorless two completely different types of cameras? I have a GH5 and a Canon 80d – I thought that my GH5 was mirrorless and my Canon was a DSLR?

  7. What are your thoughts on a hybrid like the Blackmagic pocket cinema camera? I really wish I could afford something nice, but instead I'm still using the Nikon D7000 and a Sony FDR-X3000.

  8. Thanks for this.

    For people who might not know, I did want to point out, though, that "DSLR mirrorless cameras" do not actually exist; the SLR ("Single Lens Reflex") refers to cameras which contain mirrors, whereas mirrorless cameras (even if they have a digital viewfinder) do not contain mirrors in the same that DSLR's do.

  9. Hi Matti!!! What do you think about Black magic cinema 4k? Its a good tool to start to make better quality videos??? Or this is cheap but is no good???

  10. Great video! Is this the Easyrig Mini? I wonder if it would work with the C200 too? I used it on the Sony FS700 but those tings r a bit more bulky

  11. Thanks for the educational video, Matti! It was helpful to hear a balanced argument for both sides, especially from someone who works in the doc/dp world. There are so many good camera bodies available, and now it's a little more clear about how to navigate those options.

  12. The audio for the mosquito was perfect. "Oh my god, kill it. Kill it. Kill it already. Oh god how can he not FEEL THAT?! KILL IT YOU MONSTER! Ahh yes. Wait, what's he talking about, again?"

  13. Zebras, peaking and LUT/gamma correction to the screen are all in Sony mirrorless bodies now (including their high end compacts). But yeah their screens are whack and the codec although solid is 8 bit internally so bands easy and doesn't take too much to break. Got my eyes on getting a cinema camera one of these days, maybe even just an older HD model as that's what's going to be delivered anyways. Think for me it's the "unlimited" recording factor (I know the GH4R can and some other unlocked Panasonic bodies) as I film comedy shows and need a solid hour at least.
    Dual pixel doesn't need a Canon made lens to work does it? Just a modern AF style motor inside the lens right?

  14. Content rich video man! Thanks, this helps me figure out what camera im gonna upgrade to for the bigger projects im going to tackle for my channel!

  15. what do you think about black magic pocket cinema 4k which is going to shoot 4k 60fps , 1080p 120fps raw footage and gonna cost 1300$ .

  16. Matti I would have enjoyed a side to side comparsion of video quality to prove your point! 🙁
    Anyway I think technology is moving so fast that in 2021 our dslr will have the quality of 2018 cinema camera 😀

  17. I'm using the GH5/GH5s with the Atomos. The Gh5s can jam timecode and Panasonic, as well as other companies, make XLR with phantom power options too. Also, you want to have a way to edit 10 bit, 12 bit 4k and RAW video from a cinema camera.

  18. Chances upon your vid, then checked out the channel and subbed because you have a good narrative, great shot locations, a compelling story in every video and just a lotta fun to watch! Hope to pick up some videography lessons along the way as I’m Super new to this video thing.

  19. I’ve been dying to cop that Sigma lens but I hear the autofocus motor is super loud, has anyone had any experience with the lens or similar Sigma lenses?

  20. Canon has the XA models that are a good option too. They're not as big or expensive as the C models but they still give good quality and advanced features like In Body Stabilization and Wide Dynamic Range.

  21. New technolgy…. Stretchable Flippy Screen. its like a remote on a plane…pull the cable to return … i laughed on that part….

  22. i would like to have a cinematic camera for documents, for companies, music films, wwich kind of camera with budget around $10 000 should i buy?

  23. You can use the same Timecode-Tool on DSLR Cameras, too 🙂 It generates an Audio-TC, that can be read with the software belonging to the Tentacle-Tool.

  24. Is premier really that bad at syncing stuff? I've never had a issue with final cut. Not trying to troll. I've just never used premier so I'm curious.

  25. Hey Matti, I'm thinking about doing a Documentary. Would my DSLR Canon 7 Rebel would be a fit starting out since I don't have a big budget.

  26. nice video! frustrating problem. why is there no in-between? sensors obviously rule so Cinema is God, but both seem to need to many add-ons and cost in the long run as much. DSLR's to shoot video have zero ergonomics (even with a cage) and most Cinema cameras seem to need almost as many accessories that weigh the system down too. No AF?, wow. My kingdom for a simple cheap big sensor-ed, low light capable, fast AF ability and Optical wide to extreme-able zoom-able video camera. But then, will my image be crap-ola? How did we fly to the moon in '69? Bring back the summer of love, for Cinema, with all of the above.

  27. Hey Matti can you tell me what articulating arm you're using for the smallhd 502? I like what it's locked in on as well, thanks man!

  28. Matti, You’ve not touched on pro camcorders like to xf405 which seems to have some really great features. Would really like to hear your opinion of a camera in this form factor.

  29. If you are serious about making film, no matter what genre, buy a cinema camera! In the end they are not that more expensive then a full Systemcamera rig. Don't waste your time with "prosumer" or even consumer fuckshit. Waste of time and money. Lets take the Black Magic Ursa Mini Pro for instance, speaking from experience. What do you get with a BM Ursa Mini Pro vs Systemcamera:
    1. Camera (various lens mounts usable: Canon EF, Nikon F, PL-> Film or B4 -> Broadcast) + works for ALL kinds of film work: Documentary, Film, Musicvideo, Studio (Multicam environment), Sports, Press whatever, you name it, it will work but for on body (first person) action cam – say GoPro – stuff of course.
    2. Audio, professional on board audio via XLR including +48V Phantom power and professional encoding + in-camera mics for ambient sound say up too 3 different sound sources (mixable depending on channels)
    3. Output, professional SDI outputs for monitors, external recorders (RAW recording), or various other devices like Timecode ect + LANC which is sort of a remote control system via cable (put a LANC controller on your tripod-handle and control your camera from there)
    4. Connection, yes connection, you get standard industry connections for all sorts of peripherals (see above XLR, SDI ect) with every manufacturer sticking to that standard.
    5. Black Magic Upgrade service! With the camera you get a HOLLYWOOD proofed Editing + Audio + Colorgrading (Deadpool 2 ect) software (I just upgraded DaVinci Resolve from 14 -> 15.2 FOR FREE) + Camera Upgrades: Black Magic recently released one of the most powerful RAW codecs EVER – FOR FREE
    6. Extremely client oriented service, yes client not consumer!
    7. Riging, extremely customizable body with solid connections like rosette and STANDARD audio/video screwholes all over the place
    8. one of the industries BEST viewfinder
    9. various recording options -> SD Card, CFlash Card or SSD (some clients provide their own cards because they edit themselves or hire another company for that)
    10. Battery, hell yes, you get beautiful V-Mount or Gold Mount batteries these days with a D-Tap and USB connection to power VARIOUS devices from one Batsi and not just the fucking camera
    10. Price: my Ursa Mini Pro set is Camera + Viewfinder + SSD recorder + Shoulder mount kit + Software = ca. 7000-whatever currency //
    Systemcamera1200 + external recorder/screen600 + external audio recorder250 + shoulder kit120 + software500 = 2670-whatever currency (depending on gear little more or less, could have checked Atomos Shogun for 1200 instead of 600 for external recorder blah blah).
    Systemcamera is half the prize of the real filmcamera, yes. But what you do not know is: lifespan of Filmcamera 5-10 or more years. Lifespan of Systemcamera 3-5 or less years. For a real filmcamera you usually buy more expensive BUT more sturdy/lasting equipment while for a Systemcamera you buy cheap and rebuy and rebuy and rebuy.

    Its a common term to say, "Hey buy a small camera to learn and when you get a big one you can handle it." BULLSHIT! SUPER BULLSHIT FROM OUTER SPACE PENGUINS! Let me get that straight. Working with Broadcast lenses, which are generally of extreme high quality – Fujinon for example – and are very versatile (zoom ranges from 9-140 and lens porn like that) you need to know about BACKFOCUS, somethng you never hear when working with Systemcameras because they don't have that. And so on. Simply said: if you want to go serious learn on a SERIOUS device from that start.

  30. I recently went into best buy and asked the rep. the same exact question…I quickly realized, I knew more than him and that was before this vid. Much appreciated on the details. Would give this 2👍 if I could. In the meantime can you or anyone on the feed recommend a durable DSLR for vloggin/YouTube & Self-Defense fast movement videos. Much Thanks

  31. I’m just starting out as a wedding shooter. I have 2 Canon m50’s and I’m looking at the Canon xf400 camcorder as my main camera. Would this be a good choice? If everything goes as planned and I can continuing growing my business I’ll work my way up to a more pro level cinema camera and the xf400 will become my B camera.

  32. 109th person to dislike the video. Reason- you did not show the footage, editing, digital zoom, etc. Just talking…huh. i can do that too.

  33. I started with dslr(5dm2, I'm a stills shooter too and had this camera for stills first) and did a handful of smaller but national broadcast commercials with them, then moved more towards renting(for the same client) anything form Canon C100 Mrk1, Sony FS700 with External recorder(4k Raw), to RED. Now I don't do as much video but I'm still doing a fair amount and I've found myself getting tired of the big rigs and am making the switch from Canon to Sony with my SLR/Mirrorless systems trying to get my gear smaller. These recent mirrorless cameras have gotten so good that 90% of the time, they are good enough! Especially if you are a 1 or 2 man crew.

  34. Matti please make a video on comparison of a professional camcorder and a c200( same price range) please. And also what is better in terms of Indian weddings?

  35. As an aspiring cinematographer, watching your videos gives me great joy..Your edits are in another level…

  36. I thought this video was about dslr cameras… I tuned out because you kept going on about Canada, sorry…

  37. I'm interested in creating cinematic videos and I'm currently investing in a camera with a budget of 3k (excludes price of a lens). So far, through multiple YouTube videos, the most recommended is the Canon Eos 5D Mark IV with a Sigma 35mm lens. Is there a better camera and lens for me to purchase?

  38. This helped me so much Matti! Cheers … I am naturally indecisive so this has really given me a greater understanding.
    Kishere Film, UK

  39. I'm brand new to all of this and trying to understand it all. What kind of camera was used to make the intro? It is amazing!

  40. I was a Corp. Advertising Photographer from 1979-2010 when I retired. I shot 30sec TV commercials on 35mm motion to Print, Packaging, Billboards on 2-1/4, 4×5 and 8×10 you name it. Although technology has changed I believe that the job can be done just as well on mid-priced gear as to high-end. Ex. I had classmates with $2,000 Sinar 8×10's who couldn't get a job while I shot my first $2,000,000 print/packaging ad campaign for Phonemate with a $150 Calumet 4×5, a single strobe and a cardboard makeshift softbox. Master your tools/craft.

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