Sign me up for those call options! 🚀😅

Thanks so much! 🤝🏻

haha thanks so much. I hope it provides you with as much value as it did me ;)

Thanks so much! Everything was shot on the Sigma 24-70mm F/2.8

Vielen lieben Dank für die netten Worte. KZbin habe ich leider im letzten Jahr etwas schleifen lassen aber ich plane mit 2024 wieder mehr Content zu teilen ;) Hoffentlich kommt dann auch die Reichweite ;)

Haha well you can't force it 😅 persistency is key - danke dir 🤝

I'd say most of the brand films end up on KZbin, the company's website and/or LinkedIn. I personally have never shot branded content for TV - I don't think that's a very common use-case to be honest ;)

@@matthiasstreicher I do come across some branded content here on YT and Vimeo, but they always perform very bad in terms of views, so I've always wondered, well if companies produce branded content (till this day) and they are probably aware they do not perform well on social media, I was guessing that their purpose is to be aired on TV as a commercials. But hey, here you are telling me that branded content is a rare thing to be on TV as well, haha

@@g.a.r3058 haha well don't take my word for it - after all I am not a marketing expert. I guess most branded content would be too expensive to air on TV (due to it's length) and then again it's a very loosely defined term in and of itself

Thanks for taking the time to comment ;) Really glad you enjoyed it!

Hey Lew, so here's the summary of cameras and lenses used on the projects in my reel: 0:00 - Sony FX6 with Zeiss Contax lenses 0:12 - RED Gemini 5k with Atlas Orion Anamorphic lenses 0:24 - Sony FX6 with Zeiss Contax lenses 0:35 - Sony FX6 with Sigma 24-70mm f/2.8 0:47 - Blackmagic Ursa Mini Pro with Zeiss Contax lenses 0:50 - RED Scarlet-W with Zeiss Contax lenses I personally shot my last two cinema commercials on the Sony FX6 and am a huge fan of the camera myself. It's super versatile (with the variable ND) and the autofocus (if working with limited crew) is spot on - also it's great for gimbal work (e.g. pairing it with the DJI RS3). If you know what you are doing in the grade you can get some beautiful images out of that little camera. Some even confused a couple of stills with ALEXA footage and were surprised when I told them that it was from the FX6 :D

@@matthiasstreicher Hey, thanks for taking the time to create an in-depth response! Yes, it's interesting and I feel your best work is everything up to the Ursa project (good job on the showreel chronology). I am considering buying the Sigma 24-70mm F2.8 Art, Sigma 105mm F2.8 Art Macro, and a couple of Zeiss Contax's. I'd love the Sony 50mm F1.2 GM because it looks great with the FX6 and I've seen some great stuff with the Sirui 35mm T2.9! (all so tempting🙄)

@lew.parker sure thing. I agree - lead with your best stuff! Honestly, the Sigma 24-70mm F2.8 is an incredible lens for the price and great for smaller projects with less crew. Let me know if you need some input on the Zeiss Contax ;) Haha yeah man lenses^^ pretty difficult to not want them all 😂

@@matthiasstreicher Exactly. I've come across various sources that suggest going for the MMJ version over the AEJ - do you have any thoughts on this? Also, which focal lengths did you decide to go for? Additionally I've noticed they are often labeled as Planar lenses - Would I be correct in assuming that this is the premium option compared to the Distagon? 🙏

@lew.parker I would go for the MMJ version as well - all my lenses are MMJ. In terms of focal length it depends, 28,35,50 & 85mm is a great set for large format sensors (e.g. FX6) while it's probably a bit too tight for S35 sensor cameras. The wider Zeiss Contax lenses (21mm, 18mm) are usually harder to find and way more expensive (as well as slower) which is why I haven't built out my set on the wide end yet. As far as I know, Planar, Sonnar, Distagon, etc. are just names Zeiss used based on their lens designs. I don't think there is a lot of difference in quality ;)

Hey Lew, appreciate the nice feedback. This brand film was mainly shot on my set of vintage Zeiss Contax still lenses from the 1980s. I own the 28mm f/2.8, 35mm f/1.4, 50mm f/1.4, 85mm f/1.4 & 135mm f/2.8. If I recall I only used the 28, 35 & 50mm on this one, maybe the 85mm for a shot here and there although I don't think so. Some of the close ups of the fire were shot on a Sony FE 70-200mm f/2.8 telephoto lens. Hope this helps 🤞🏻 Let me know if you have any other questions. ☺️

Thanks - appreciate the kind words. You're in luck - I am going to do an entire walkthrough episode on the Google Sheet. Coming soon!

Thank you very much! Really appreciate the kind words 🤞🏻☺️

Thanks Daniel! A lot of passionate & talented people were involved in making this short film. Glad you enjoyed it!

Totally agree! You really have to think about every minute detail before the shot as there simply aren't any redoes. Props to my director Nick Hansbauer for doing an amazing job blocking & rehearsing. Very cool - if you do be sure to send me your submission - I'd love to see it

Glad you found this video useful - it's crazy how much content is available for (almost) free nowadays. Happy learning!

Hey mate - thanks for the kind and encouraging words. I really appreciate your comment. Every beginning is hard but if you stick to it by continuously educating yourself and try to build valuable relationships time will be on your side ;) All the best for your journey.

Thanks mate 🙏🏻🙏🏻

Glad it was helpful!

It's a really powerful method and Patrick always comes up with the best vocabularies for those type of things 😅

Yeah it's an awesome technique for sure. ;) Interesting approach - I haven't tried applying it before the Rec709 node but I'll definitely try it out. How would you say it's different?

@@matthiasstreicher Yes, it’s how Patrick does it himself in his video. The difference in this case probably won’t be as big as it depends on how much you’re pulling back the background. Everything after the 709 lut will be baked in so doing this technique before it will result in a bit more tonality and saturation in the shadows

Yeah that makes total sense - probably won't notice the difference when grading on your MacBook but certainly a good practise to work with those changes before the conversion LUT ;)

Thanks mate - really appreciate the kind words 🤞🏻 Glad you see it that way ☺️

Thanks for the kind words mate. Really glad you enjoyed it!

Appreciate the kind words Leo! 🤞🏻

🙏🏻🙏🏻🙏🏻

Thanks mate! Appreciate it

That's a though question - it depends a lot on the working hours (prep, production, post) you put in as cinematographer. 1.5 million is not a lot of money for a feature film (even an indie one) so you will definitely need to make compromises in terms of money. You most likely won't get paid for pre-production so I would say 20.000-30.000 for a 20 day shoot is probably the most you can expect.

@@matthiasstreicher Thanks for the answer! Crazy to say 1.5m isnt much these days 😬 one more question: are the charges for that budget level generic world wide? Or would you pay more for a cinematographer in the usa say compared to someone in europe or Australia etc.

@@mdw7389 Haha yeah it is crazy but if you think about all the people involved in the production of a film + the logistics and equipment it adds up quick :D I would say rates are similar for countries with similar-sized film industry & economic standards (US, UK, Japan, Australia, Germany, China). You probably won't be able to charge as much in countries with a significantly smaller industry. ;) I hope that helps. I am by no means an expert on this :D

@@matthiasstreicher I guessed as much, thmak you brother!

@@mdw7389 Your welcome :)

Yeah Austria is a proper social state. :D There is a maximum of 6 weeks fully paid sick leave plus 4 weeks of half paid sick leave per year for an employee - I just assumed an average of 10 days/year for the calculation. ;)

I appreciate that! Thanks for the kind words - I hope so ;)

That’s a great idea for a future video! Thanks mate 🙏🏻

The software at 2:42 is called CineTracer and is available through Steam. The video snippet at 2:51 is from an in-depth color science breakdown done by cinematographer and ASC member Steve Yedlin ;) Just visit his personal website and if you scroll down you will find various educational videos on resolution, color science and so on! 😊 I highly recommend checking them out

Awesome, thank you!

Really appreciate your engagement & feedback! Thank you!

Well that's a skill I didn't know I had 😂 thanks for pointing it out^^

Excellent guess! The FX6 was indeed the most used camera of 2021! 👌🏻 Very well done - also nailed it with the RED in 2nd place 🥈

Thanks for letting me know. ;) I'll definitely do a future episode on just that then.

Danke für dein Feedback und den Input! :) Werd ich auf jeden Fall im Kopf behalten

Glad you enjoyed it!

Glad you like them!

Vielen Dank für die netten Worte Markus ❤ Auch eine meiner Favoriten 👀🎬

That's interesting - what's your main field of work? (Corporate, Commercials, Music Videos?)

@@matthiasstreicher Last year my main field was still musicvideos and I still do a lot but I've been transitioning more and more to corporate stuff laying my focus on recruiting videos as I've sadly had so many bad experiences with unreliable, non-paying (even criminal) clients in the music industry. So now I just do them for people I already know or people that seem genuine! :)

@@YannickFilms Damn man - yeah the music industry certainly is a tough place in general but also in terms of budget. Big labels paying peanuts for their artist's music videos and expecting insane things. Glad you moved on and started to shift your perspective and clientele. ;) Certainly sounds like the right thing to do.

@@matthiasstreicher Yeah for sure! Actually got a musicvideo shoot today, but now I view them more like somewhat paid passion projects! :)

@@YannickFilms Very cool! Good luck man - let me know how it goes ;) Definitely, music videos seem to be more passion projects than anything else :D

Very good guess - it was a pretty even split between the FX6, FX9 & FS7 🙌🏻

subbed!!

100% - especially if you keep it subtle its a great way to draw in your viewers ;)

Thanks mate ;)

Glad you enjoyed it!

Thank you very much - I really appreciate the kind words! As far as camera rigging goes, we shot everything on the Sony FX6 using a DJI RS2 gimbal, I tried my best to keep it as smooth & steady as possible ;) So no steady cam op^^ In terms of lighting we really didn't do much other than creating a little bit of shape using negative fill and careful camera blocking. Also a lot of heavy lifting was done in the grade to achieve the final look :D Let me know if you have any more questions. I'd be happy to answer them and thanks again for the kind words ;)

Thanks 😁

Thanks! 😄 Fingers crossed

Any time!