Your Favorite Creators' Favorite Cameras!

Ever wondered what camera something was shot on? Then you might just be the type of person that will find this obsessive kind of deep dive interesting! Studio producers Eric and Rich talked with creators like Casey Neistat, Becca Farsace, Inga Lam, Tyler Stalman and many more about which cameras are taking up space in their gear bags. Why did Casey switch to Sony when he was vlogging? Why not just use iPhones? We have the answers in this weeks bonus episode! Special thanks to all the creators we spoke to! Special thanks to all the creators we spoke to go watch their stuff! Austin Evans: ⁠https://www.youtube.com/@austinevans⁠ Inga Lam: ⁠https://www.youtube.com/@IngaLam⁠ Brittney Janae: ⁠https://www.youtube.com/@BrittneyJanae⁠ Joshua De La Victoria : ⁠https://www.youtube.com/@JoshuaDeLaVictoria⁠ Shua Films: ⁠https://www.youtube.com/@shua_films⁠ Stewart Hicks: ⁠https://www.youtube.com/@stewarthicks⁠ Casey Neistat: ⁠https://www.youtube.com/@casey⁠ Jetlag the game: ⁠https://www.youtube.com/@jetlagthegame⁠ Brandon Y Lee: ⁠https://www.youtube.com/@brandonylee⁠ Tyler Stalman: ⁠https://www.youtube.com/@stalman⁠ Colt Kirwan: ⁠https://www.youtube.com/@ColtKirwan⁠ Becca Farsace: ⁠https://www.youtube.com/@BeccaFarsace⁠ Michael Tobin: ⁠https://www.youtube.com/@initialfocus⁠ Links: Media Division: https://www.youtube.com/@MediaDivision Andy To: https://www.youtube.com/@andyto Music provided by Epidemic Sound Shop the merch: https://shop.mkbhd.com Socials: Waveform: https://www.threads.net/@waveformpodcast Marques: https://www.threads.net/@mkbhd Andrew: https://www.threads.net/@andrew_manganelli David: https://www.threads.net/@davidimel Adam: https://www.threads.net/@parmesanpapi17 Ellis: https://twitter.com/EllisRovin TikTok: https://www.tiktok.com/@waveformpodcast Join the Discord: https://discord.gg/mkbhd Music by 20syl: https://bit.ly/2S53xlC Waveform is part of the Vox Media Podcast Network. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:00Speaker 00

  This episode is brought to you by On Investing, an original podcast from Charles Schwab. Each week, hosts Lizanne Saunders, Schwab's Chief Investment Strategist, and Colin Martin, Head of Fixed Income Research and Strategy for the Schwab Center for Financial Research, bring you fresh insights on what's happening in the markets and why, and what the implications might be for your portfolio. Join Colin and Lizanne as they explore questions like, how do you evaluate corporate bonds that look interesting? And what sectors are on the move right now? Download the latest episode and subscribe at schwab.com/oninvesting, or wherever you get your podcasts.

• 0:45David Imel?

  Support for the show comes from JIRA by Atlassian. AI is only as useful as the context it has to work from, but when that context is scattered across tools, threads, and DMs, that means your team and your AI agents end up flying blind. That's the problem that JIRA solves. What's the goal tied to your project? What got decided last week in Slack? Atlassian's teamwork graph pulls all these pieces together from JIRA, Confluence, Slack, GitHub, and more, so nothing falls through the cracks. With JIRA, you can actually share that context with the AI agents you already use, like Claude, Cursor, and GitHub Copilot, assign them work directly, or connect your agents through MCP. Spend less time digging through endless links and DMs, less time chasing down what got decided and by who,

• 1:26David Imel?

  and more time actually shipping. Learn more at jira.com. That's J-I-R-A dot com.

• 1:32Speaker 02

  There was a camera called the Canon. I cannot believe I can't remember the name of this camera.

• 1:39Speaker 03

  What, the?

• 1:40Speaker 02

  You got to look this up.

• 1:41Speaker 03

  Small point shoot?

• 1:42Speaker 02

  No, okay, I'm gonna describe it to you. I have two. I have two of them in my office. The most beautiful camera.

• 1:52David Imel?

  What is going on, people of the internet? Welcome back to another episode of the Waveform Podcast. We're your hosts. I'm Marques. I'm David. And if you're watching the video version, you've already noticed that David is next to me, which means on the other side, we've got two new hosts for this bonus episode. That's right, you're not seeing things. It's not Friday. You can still do dishes, but we have some extra fun stuff to talk about in the world of YouTube creators and their camera choices. So, without any further ado, Eric and Rich, take it away. Hello.

• 2:24Speaker 04

  Oh, that was pretty great.

• 2:25Speaker 05

  Dude, yes. So, uh, so I'm Eric. I'm one half of the studio channel. Rich and I are regularly confused in the studio. Pretty much everyone thinks that we are the same person. That is a good thing. So hello, I'm Eric. Many people refer to me as Rich. That is okay.

• 2:44Speaker 04

  Hello, I'm Rich and no one refers to me as Eric.

• 2:47Speaker 05

  That is not true. That happened 10 minutes ago. Adam called you Eric.

• 2:53Speaker 04

  That's true, yeah.

• 2:55David Imel?

  Thank.

• 2:56Speaker 05

  Rich, what do we do for a living?

• 3:00Speaker 04

  Yeah, me and Eric, uh, we're the studio producers and we make our behind the scenes videos here at, um, MKBHD.

• 3:07Speaker 05

  So our last big behind the scenes video, we got a lot of feedback that it just didn't feel super attainable, that there's only so much about behind the scenes at MKBHD that can be actionable for people. So we had an idea to do pretty much the biggest behind the scenes video in history.

• 3:24Speaker 04

  Yeah, so we decided to talk to some of our favorite creators, ranging from 20,000 subscribers all the way up to 20 million.

• 3:31Speaker 05

  And, well, you know, almost 20 million. Anywho, now subscribe to the MKBHD channel. Marquez needs more subs. And our goal is to not just to understand what cameras these creators really like, but really to answer the question, does gear even really matter in YouTube in 2025? The answer is a lot more nuanced than I think we were expecting.

• 3:53Speaker 04

  Yeah.

• 3:53David Imel?

  Yeah. Yeah, I feel like in the world of what camera do you use on YouTube, there are some trends. There are some historical trends. There are some current, modern day, popular options. But there isn't really like any one standout number one that I can think of as far as a single model.

• 4:10Speaker 05

  I don't know if I agree with that.

• 4:12David Imel?

  But I do think there are standout brands that are dominating.

• 4:16Speaker 05

  Okay, well, all right, there's evidence, there's evidence for and against that.

• 4:19David Imel?

  Okay.

• 4:20Speaker 05

  Okay, so the first camera brand that we wanted to start with is a camera brand we're, we're very familiar with here and a lot of people aren't very familiar with. Um, Mr. Red Marques Brownlee.

• 4:29David Imel?

  Red.

• 4:30Speaker 05

  A lot of creators see Red as this sort of aspirational brand. Oh, maybe one day I could shoot on a Red camera. So we wanted to bring in one creator who actually shoots all their videos on Red and another who bought a couple of Red cameras, but isn't really using them anymore. Why, why do you shoot your videos on Red? Let's start there. We talked to other creators.

• 4:49David Imel?

  Wait, you mean Nikon? They got bought by Nikon, but I do shoot Red. I do shoot Red.

• 4:56David Imel?

  That's a deep cut.

• 4:56David Imel?

  I can really give you, I can break it down to basically two main reasons why I shoot Red. I was shooting Canon for a very long time, up until around 2015, I think. Wow, it's been a decade. And, yeah, I know. But the two reasons that I'd switched to my first ever Red camera, which was an Epic W, I believe, at the time.

• 5:12David Imel?

  Epic.

• 5:15David Imel?

  Oh, yeah. It was called the Red Epic W.

• 5:16David Imel?

  Oh, man.

• 5:17David Imel?

  Or maybe it was a Scarlett W before the Epic W. But one, resolution. Two, color science.

• 5:23David Imel?

  Yeah.

• 5:24David Imel?

  So one resolution was I was shooting 1080i, 1080c 100, and I was looking for my first 4K camera. And I skipped right to the, the Red RAW 4K camera. And it was plenty sharp, and that was like one of my criteria for a new camera. The other was it had this amazing color science, and I could change the white balance after I shot, which was this, this neat little thing called RAW video. And the colors looked amazing. I could really make videos look the way I wanted them to, so.

• 5:54David Imel?

  So for people that don't know, when your camera, when you take video, generally your camera is compressing that video. It's applying basically a LUT or lookup table effectively to it by compressing it into an MP4, something like that. And it's making a bunch of decisions about color. RAW video is just a lot of the information, most of the information is taken in. It's not completely real RAW RAW, you know, video. That sounds like a

• 6:18David Imel?

  Compressed RAW.

• 6:19David Imel?

  Google Gaga.

• 6:20David Imel?

  Lady Gaga.

• 6:22David Imel?

  Lady Gaga lyric. But yeah, it's compressed RAW.

• 6:26David Imel?

  Yeah.

• 6:26David Imel?

  Because it takes it in, but because of that, it's not applying, or it's allowing you to still adjust those values like white balance, so.

• 6:33Speaker 05

  I feel like the, working here, working with Red is relatively easy, in large part because Rich does most of the shooting, but also we have like great computers for like a good, healthy post workflow.

• 6:49Speaker 05

  But we called with Austin Evans, who actually accidentally bought two Red cameras.

• 6:55David Imel?

  Accidentally?

• 6:56Speaker 05

  Yeah.

• 6:56Speaker 04

  You wanna? Sure. I believe Austin had Scarlett W on preorder, and then Epic W came out, so he bought that, and then

• 7:03David Imel?

  Can't believe they called it that.

• 7:04Speaker 04

  You didn't like the W?

• 7:05David Imel?

  Epic W.

• 7:06Speaker 04

  The W's not for weapon, right?

• 7:08David Imel?

  Really hard to fly with these cameras.

• 7:11David Imel?

  So before working here, I was a cinematographer and I got to work with our good friend Austin Evans. And he had a much different experience shooting Red.

• 7:18David Imel?

  Very different.

• 7:18Speaker 07

  But the problem was it was a bad camera. Like, yes, if you have a whole film crew and a technical department and a whole lot of patience, it was lovely. But the problem was, you know, like there was one shoot where we were in Austin. So we were doing a shoot with Audi. We were on Circuit of the Americas, you know, an actual proper F1 track. And it is Texas in summer and it was like 100 degrees outside. The Red completely gave out on us 15 minutes in the shoot. Like just wouldn't power on. It wasn't like overheated necessarily, it just, just gave up, right? So luckily we had like an A60 500 as a B cam, which we had to shoot the rest of the video on. That was one of those moments where I'm like, this is not it. Red had its moments, but even when we shot Red, we shot it in ProRes. Like we didn't, we never, ever, ever used the AK because who needs AK, right?

• 8:02Speaker 07

  Especially back, you know, six, seven years ago. So, uh, we still technically have our Red and it is a lovely paperweight.

• 8:11David Imel?

  I mean, we gotta, we gotta make something clear. Like Red cameras are studio cameras. They are shot, they're used for movies.

• 8:18Speaker 07

  Yeah.

• 8:18David Imel?

  Right? In very controlled environments.

• 8:20Speaker 07

  Yeah.

• 8:21David Imel?

  Right? It was a, it was a weird thing when Marquez and Austin and Jonathan Morrison and Lou went and decided to, decided to buy Red cameras for YouTube videos. Like that was extremely novel.

• 8:32Speaker 07

  Yes.

• 8:33David Imel?

  It's still, it's still novel because the newest models are still extremely expensive. You can get a Scarlett W for like $3,000 now, but back then that was like, nobody was doing that.

• 8:43Speaker 05

  But even if you bought the Scarlett W for $3,000, that's the thing about Red cameras is like, people will think that a Red camera is something that's like, maybe something to consider as a creator. Like, oh, I'm going to work my way up and build out a Red ecosystem.

• 8:58David Imel?

  Yeah.

• 8:58Speaker 07

  Yeah.

• 8:59Speaker 05

  It's probably not a good idea.

• 9:00David Imel?

  It's, it's a locked off kind of situation.

• 9:02Speaker 05

  Probably not a good idea.

• 9:03David Imel?

  I'd say a Red camera is the equivalent of it's a sensor in a little box and that box is a computer.

• 9:09David Imel?

  Yeah.

• 9:09David Imel?

  With fans and, you know, memory and all this other compute. And you can attach as much or as little to this box as you want to build it out for whatever you're shooting.

• 9:20Speaker 07

  Yeah.

• 9:20David Imel?

  So if you've ever seen like a Hollywood movie set, it's built out to the size of, of.

• 9:27David Imel?

  A dog.

• 9:28Speaker 05

  Oh, that's pretty accurate.

• 9:29David Imel?

  I'm trying to think of like a size reference.

• 9:31Speaker 05

  Yeah.

• 9:31David Imel?

  It's got multiple monitors and a ton of cables coming out of it. And it's got, obviously, the memory isn't plugged into the side, but it's got all accessories for shooting external memory and all this other stuff.

• 9:38Speaker 05

  It's the brain.

• 9:39David Imel?

  It's not ergonomic at all. You might have two or three handles on it for maybe that one time. They're going to do that one handheld shot for that thing they planned for that thing that next day. But it is very much not like the C100 I came from, which is built for one person to shoot everything.

• 9:53Speaker 05

  Yep.

• 9:53David Imel?

  So the single shooter camera experience is very different. That said, I've been able to build out my version of a single camera shooter, Red.

• 10:04Speaker 05

  Right.

• 10:05David Imel?

  Uh, I've found just the right set of handles, top handle, record button, monitor, accessories, that for me, it's just, just light enough and just ergonomic enough that I can make it work. And it's worth it because the footage that comes out of that box is second to none. I have not seen anything come close to touching the quality of a Red image off that sensor.

• 10:27Speaker 05

  We're going to notice a pattern where if you're a tech YouTuber or like a knowledge YouTuber, you end up seeing like pretty weird camera choices because the environments that you're shooting in are relatively controlled. And the more that creators move into niches or spaces where the environments are less controlled.

• 10:45David Imel?

  Yeah.

• 10:46Speaker 05

  I think the more they all congregated around like two brands.

• 10:49David Imel?

  Okay.

• 10:50Speaker 05

  Um, but let's wait until we hit those brands because Red was recently bought by Nikon. And we were not really thinking about bringing Nikon in to this video. Nikon hasn't really had a rep, especially in like video for creators. But when we hopped on the phone with Becca Farsace, who's like, como se dice, the goat.

• 11:13Speaker 05

  She said like, Um, I think this will come as a surprise to most that I actually use predominantly Nikon systems now. We asked like, what do you like about it? And she described the image as like, Describing color is weird, but there's something about it that feels like homier and cozier. Whereas Sony, I feel like is very sharp, a little bit punchier.

• 11:35Speaker 07

  And yeah Nikon just naturally right out of camera. I can have something that I'm really pleased with.

• 11:40David Imel?

  Yeah Nikon has had a bit of a renaissance in the last like two or so years, primarily because they were pretty late to move to mirrorless. So a mirrorless camera is a camera where it takes in the image, it goes straight to the sensor and then you see what the sensor sees. Whereas a normal camera DSLR has a mirror that you see what the mirror sees, which is not the actual image or exposure. While everybody else, well, not everybody else, but most of the other brands were on these like second, third generation mirrorless cameras. Nikon was just releasing their first camera, their first mirrorless camera.

• 12:12Speaker 05

  Yeah, no, we were all, all the kids in like the YouTube cook groups I was in back in the day. Yeah, that's, that's what we called them instead of group chats.

• 12:21David Imel?

  Yeah.

• 12:22Speaker 05

  We would, pretty much everyone switched to the Sony ecosystem around this time and like never looked back. Cause Sony was really the first manufacturer to bring us cheap mirrorless. I like, I guess Panasonic kind of beat them, but.

• 12:35David Imel?

  Micro four thirds.

• 12:36Speaker 05

  Yeah, it's different.

• 12:37David Imel?

  We'll, we'll get into it.

• 12:38Speaker 04

  Do you have context David on why Nikon was so slow to switch?

• 12:43David Imel?

  I think that it's not too dissimilar to why Kodak was so, even though they invented the digital camera, they just were like, no. They were just having so much success and like Canon and Nikon are the two, like they were two of the, the two biggest camera brands, right? They were making all of the money and they're making all the money on SLRs and DSLRs. And so they were like, I don't really think there's a huge benefit to this technology. Our photographers are super used to using DSLR. Yeah, I don't know. I think people had just gotten really in their way about it. Also, the Nikon crowd tended to be either older people who were shooting like bird photography or like wildlife photography.

• 13:25David Imel?

  Nikon is famous for bird photography. You will very rarely meet any other brand that.

• 13:30Speaker 05

  On the box, they're the one with the cheetah on the box, right?

• 13:32David Imel?

  Yeah. Uh, and then they also are very popular for concert photography. So, cause their low light used to be, well, it still is very good, but for that reason as well.

• 13:42Speaker 05

  So I was talking to Becca about like where Nikon goes in the future. Like, are we going to see a Nikon comeback? Especially with like the red kind of. Acquisition. Yeah, I guess acquisition.

• 13:55Speaker 07

  I have no knowledge of what's gonna happen, but I think Red's are very expensive systems. Not only is the camera expensive, but the amount of footage that you're gonna shoot is gonna take up a lot of hard drive space. Hard drives are expensive. And I wonder if Nikon, who is, you know, really affordable cameras, they they price their cameras very competitively. Coming together with Red means that we're gonna get something that's more affordable with the Red logo on it. Or in a Red camera. I wonder. I don't know. I can only hope.

• 14:29Speaker 05

  Do you guys think that the future of this acquisition is like more and more people could buy Red camera? Like, maybe, because it sounds like Nikon is relatively accessible now, but no one's just thinking about it. Maybe people are gonna start thinking about Red cameras.

• 14:42David Imel?

  I think there is some level of cachet attached to the Red name from the Red Epic and the Red Mysterium Dragon. And back in the day, they were very big in the cinema world and the directors that shot with Red. Like, they have that cachet. So weirdly, I feel like it could be Nikon, or as they actually said it to me when I talked to them recently, Nikon. It could be their way of going up into that cinema world. Yeah, Nikon.

• 15:07Speaker 04

  I believe that's the correct pronunciation, right?

• 15:09Speaker 05

  Really?

• 15:10David Imel?

  Yeah.

• 15:11David Imel?

  No.

• 15:13David Imel?

  I know, none of us have said it like that. That's apparently how it's said. But yeah, it could be the other way around as well. It could be some of Red and bringing their technologies down in price and more accessible into Nikon Nikon cameras if they get there.

• 15:25David Imel?

  So just about two weeks ago, so Red makes a camera called the Komodo. They, which is, by the way, their most affordable camera. They actually made that camera in response to all of these mirrorless cameras being more and more affordable for creators. They wanted to offer like this in-between spot where it's more expensive than a mirrorless camera, but it's like still a cinema camera.

• 15:47Speaker 05

  Sure.

• 15:47David Imel?

  So just about two weeks ago, they started selling one with a Nikon Z mount, which is the lens mount that the Z series Nikon mirrorless cameras have. So now they sell both on the Komodo as well as I believe on the newest one. That, what is the one that you have?

• 16:04David Imel?

  V Raptor.

• 16:04David Imel?

  V Raptor, yeah. I think they also have a mount for the V Raptor now that Nikon Z lenses can go on to. So. It is very early, by the way, in the acquisition. It only officially went through like quite recently.

• 16:16Speaker 05

  Yeah.

• 16:16David Imel?

  And it's quite surprising that they're doing this. They did that. The other thing that they have done in the last month or so is Nikon can shoot Z-Raw internally. And there's all of this, or N-Raw, sorry, N-Raw, not Z-Raw. There's all of this lore as to Nikon and Red suing each other over internal RAW video.

• 16:36Speaker 05

  Compressed RAW.

• 16:37David Imel?

  Compressed RAW video. Eventually Nikon just bought Red and they dropped the lawsuit. Uh, but

• 16:43Speaker 05

  Convenient.

• 16:43David Imel?

  Convenient.

• 16:45Speaker 05

  I wonder if these two unrelated factors are connected.

• 16:48David Imel?

  But the N-Raw that the Nikon Z6 series and Z9 and whatever can shoot, uh, Red, they just announced a bunch of LUTs with Red that try to give it the Red sensor look on these Nikon cameras.

• 17:03Speaker 05

  Yeah.

• 17:03David Imel?

  So it's clearly not going to be exactly the same. It is a LUT, it's a lookup table. It's not the same as the sensor technology. But they are working together in ways to bring the Red cache to Nikon and to bring the Nikon accessibility to Red.

• 17:17Speaker 05

  Yeah. Okay. So speaking of accessibility, we dove into black magic with two creators who are cinematographers by day. Michael Tobin and Brittany Genet, um, and also have their own YouTube channels about cinematography. Rich, could you give us like context on black magic? How do people think about black magic?

• 17:37Speaker 04

  I feel like people think about black magic as the accessible Alexa in the sense that the color science is beautiful, easy to work with.

• 17:45David Imel?

  Great menu system.

• 17:46Speaker 04

  Yeah. The only thing they're lacking? Autofocus, which is a big thing.

• 17:50David Imel?

  It is. Well, but like it's, it's deeper than, okay. So when we talked to Michael Tobin, he gave this great analogy. He said,

• 17:57Speaker 03

  I think the easiest way to put it is they're very similar to Apple, that they have their own kind of walled garden, right? They make the camera, they make the The codec, they make the software, they have the best color grading software on the planet. And so you just have this beautiful like workflow throughout the whole way.

• 18:13Speaker 05

  You can actually get DaVinci Resolve Studio when you buy a Blackmagic camera. This is the only camera brand you buy where you also get like a full stack professional grade video editing software. Thrown in there.

• 18:23David Imel?

  Yeah. Unless you count Red CineX. Most people don't.

• 18:28Speaker 05

  Are like, no one.

• 18:29David Imel?

  No one does that.

• 18:30Speaker 05

  No one.

• 18:30David Imel?

  Yeah, that's crazy.

• 18:31Speaker 05

  But so his whole thing is like, you can build like a full workflow with Blackmagic. When we talked to Brittany, she was just like.

• 18:39David Imel?

  Wow, the image quality is so beautiful. It's such a beautiful sensor that comes out the Blackmagic and I think, you know, a lot of times like with social media, it's really hard to explain characteristics of a camera and the differences of why you would go for different cameras. But for me, when I had the Blackmagic 6K, 6K, it was when I wanted to get into actual filmmaking. So shooting short films and I think that really, the image quality really set it apart. Because you were getting this beautiful cinematic image for like such a low price. And it's one of those things where like, I know we all talk about like what cinematic is, but to me, owning both cameras, the FX3 and the Blackmagic.

• 19:18David Imel?

  I don't have to put diffusion on the Blackmagic glass. It's automatically a softer look coming out of the camera itself. It pairs really nicely with a lot of lenses because of like the image quality that it has. It has false color, so it has certain aspects that you would use in filmmaking that makes it easier for you on set. And if you want to grow from just, you know, like doing like the everyday content to being a filmmaker, it's just a good transitional camera.

• 19:46Speaker 05

  She was using her Blackmagic for YouTube and then she stopped using it for another camera brand. There are like some pretty clear downsides to shooting Blackmagic that we were able to get into with them. Have either of you guys shot Blackmagic?

• 20:01David Imel?

  Yeah. Yeah, I've gotten very close multiple times, but always got scared away at the last second. Whether it was because of the workflow, I don't want to have to use DaVinci Resolve, or if it was because of, you know, I've seen a lot of, so you say the sensor is beautiful and the color science is great. I've watched, maybe this is from the beginning, early days. I've watched a lot of test footage that I didn't like from the Blackmagic cameras.

• 20:23Speaker 04

  Really?

• 20:23David Imel?

  And so if I were ever to switch cameras, I would want it to at least match what I thought I was getting out of my current camera. And I never thought that Blackmagic was doing that. Maybe it's much closer now. And I know there's the Ursa 8K and all sorts of other stuff, but I haven't seen test footage that tempted me.

• 20:37David Imel?

  So, well ironically, so Blackmagic is like the, generally like the cheaper version of a Red. In that it allows you to shoot raw video. This was like, it was one of the alternatives that gave you that raw capability. And generally, when you're shooting raw, we are different because we have extremely controlled lighting. We just want the highest quality image at a normal look. But most of the time when you're shooting raw, you're actually shooting raw because you want to stylize your image.

• 21:04David Imel?

  Or correct for it. We just shot, uh, we just shot the, uh, the Pixel 9A hands-on in New York City. And Rich and I were, we, yeah, weird lighting, like spotlights with these orange lights. And then go outside for a few minutes and shoot out there and then shoot in the hallway and then come back inside. It's like, I don't want to have to do some sort of manual white balancing every time. In post, we can nail every single shot with perfect.

• 21:28David Imel?

  Which by the way, when I worked at Android Authority was the most annoying freaking thing. There'd be like 50 of us reporters in one room and all of our videos look horrible because, because the lighting was terrible, super yellow. And then we'd all watch Marquez's video and it'd be perfect.

• 21:40David Imel?

  Yeah.

• 21:42Speaker 04

  That's the advantage of Red, right?

• 21:44David Imel?

  That's a Red.

• 21:46Speaker 05

  It's dude, it's so funny talking to you guys about this because I think like, when we talk to creators, their take on why they didn't like Blackmagic had like, nothing to do with color or, or, like the big, the big reason is like,

• 21:59Speaker 03

  Up until the Pixis, the body style on the Pocket series is a reason a lot of people hated it. Cause it was like this DSLR vibe, but also cinema camera components that just didn't make a lot of sense. Battery life is rough. Um, that's definitely, you need a lot of those. I'd say the biggest downfall is people like autofocus. And there's no blackmagic cameras that have any autofocus to it.

• 22:22Speaker 07

  It's just more to the workflow than just being able to put a card in, shoot it, take it out, and put it in your computer. So it's just the fact that I still have to use V mounts, get all my cords out, all of those things. It's just like, alright, chill. And because it's not autofocus, I have to use a monitor on it so I can see myself and make sure that I can try to manually focus to make sure I'm in focus.

• 22:44Speaker 04

  There's no autofocus.

• 22:45David Imel?

  Yep.

• 22:46Speaker 03

  Yeah, on the more affordable ones.

• 22:48Speaker 04

  Especially if you're a single person shooting, like you just want to have autofocus to know that you're in focus.

• 22:54David Imel?

  It's, I get it. Yeah, it makes sense if you're like a prosumer, I think, and if you're like making a lot of YouTube videos.

• 23:02Speaker 05

  I think if you're a DP, or you're saying like-

• 23:06David Imel?

  The solo shooter.

• 23:07Speaker 05

  If you're like a young DP.

• 23:09David Imel?

  Right, yeah.

• 23:10Speaker 05

  I think a Pocket 6K could be in your universe.

• 23:14Speaker 04

  Especially if you have a crew and you're in controlled environments for lighting.

• 23:18Speaker 05

  Yeah, like a relatively small camera crew. There are certainly better cinema cameras. Well, maybe not certainly. I guess it depends on how much you really like Resolve.

• 23:28David Imel?

  Yeah.

• 23:28Speaker 05

  There's so much of this is like, can you dial in the right post workflow with Resolve to feel really confident that, you know, everything you shoot with blackmagic, you can get a unique image.

• 23:38David Imel?

  Yeah, the thing about blackmagic, especially a number of years ago, was that they were like the cheaper red in that the bodies were made of like a light plastic. They were also sort of just a camera brain computer, but in a much cheaper body. They didn't have any sort of like flip out screen or anything where you could see yourself. They were very much like, we took the parts that you need and we put some stuff around it and here, just like, shoot the raw video, do it all in post. And because of that, they didn't include the things like autofocus and like these other capabilities. They're also adapting to like everyone else's lenses, so they didn't really have the control that like a native camera brand that has their own lenses can do either, so.

• 24:21Speaker 05

  So one last, I guess, kind of quote on blackmagic. We talked to Brendan Lee, who was the like head of cinematography for Linus Tech Tips, and they briefly shot every video on Short Circuit, which our boy Jono was responsible for at one point. Thank you, Jono, for providing the money for my employment.

• 24:43Speaker 05

  Anyways, so short circuit was, short circuit on LTT was all black magic for a little while. And Brandon said they ran into some pretty frustrating technical issues, just in terms of like how they managed. I think it was like mostly like codec management. And there were a lot of things that because black magic is proprietary, you have to build out these workflows that in theory could be better. But you almost need to be like a black magic domain expert in order to get these cameras to be like excellent, excellent cameras. I think it takes time for mastery over these. You could say that about a lot of cameras, but black magic especially because of its relationship with software.

• 25:22David Imel?

  Yeah.

• 25:23Speaker 05

  And the hardware.

• 25:23David Imel?

  So yeah, black magic has this software called DaVinci Resolve that they acquired quite a long time ago in 2009 or so. And it used to mostly be a color, a color editor. You would just, you would bring your footage into that software just to do the color. But over the last like four or five years, they've updated it over and over again. And now it's like a quite strong nonlinear editor. So a lot of people have left both Premiere and Final Cut over to here, especially if they have a black magic camera, because it is a lot different. It's a lot better for that footage. And it also uses these things like nodes and whatever. But yeah, I think if you invest in the black magic system and you

• 26:06Speaker 05

  If you commit to it.

• 26:07David Imel?

  Commit to it.

• 26:08Speaker 05

  Yeah.

• 26:08David Imel?

  But it's probably a little bit tough to do that in like a studio like Linus Tech Tips where you got to teach everyone a bunch of new things and like teach everyone a specific workflow.

• 26:17Speaker 05

  Especially if you have an old workflow. If you build from the ground up with black magic in mind, it could actually probably be a very efficient

• 26:24David Imel?

  Yeah.

• 26:24Speaker 05

  stack. But you need to like, take the time to understand the tech.

• 26:27David Imel?

  Sure.

• 26:28Speaker 05

  All right, David, I would take a quick sip of Red Bull if I were you, because we are about to talk about Fuji cameras. And Mr. Amel?

• 26:39David Imel?

  Yes.

• 26:40Speaker 05

  You, in many ways, to much of the internet, to much of the world.

• 26:45Speaker 05

  You're the, you're, you're an introduction to a lot of the, the science and a sort of an understanding for how Fuji cameras work and what makes them special.

• 26:55Speaker 04

  Ah, that's perfect.

• 26:58David Imel?

  Bring the Fuji.

• 26:58David Imel?

  Sure, I'm bringing the Fuji.

• 27:00Speaker 05

  So I guess, I guess to start here, in terms of a Fuji image, why are so many people gravitating to it? Why are Fuji cameras becoming this sort of like viral phenomenon? What is it about these cameras has enabled them to kind of like leak into the social fabric?

• 27:17David Imel?

  TikTok.

• 27:18David Imel?

  No, just TikTok.

• 27:20Speaker 04

  That's why I bought mine. No, and you.

• 27:23David Imel?

  Oh, it was trendy. I think I know.

• 27:25Speaker 04

  It's true.

• 27:26David Imel?

  It was kind of trendy.

• 27:27Speaker 04

  Yeah, it was popping up.

• 27:28David Imel?

  Yeah, okay, but it was trendy not necessarily because, okay, there's a lot of things.

• 27:33David Imel?

  A lot of the answers to a lot of the questions you were asking me, the answer is the democratization of something. You know, when we're like, we're creators are picking up this brand because this brand has finally brought this feature that used to be on these inaccessible thing to inaccessible.

• 27:50Speaker 05

  Okay.

• 27:50David Imel?

  Right, so Fujifilm democratized color. Because it is, it takes a very long time to get really good at doing good color.

• 28:01Speaker 05

  Yeah.

• 28:01David Imel?

  Yeah. In 2016 or 2017 or so, I bought my first Fuji camera. It was a Fujifilm XT2. It was my first camera at all. I didn't knew nothing about what I was doing at all. I started making videos and everyone on YouTube was like, oh, what's your color workflow? And there's all these videos talking about like, oh, how I grade, how I grade. And I was just like, Astia. By the way, Astia is a film stock. Fujifilm, if you do not know, they have all these film stocks that you can choose to shoot with. There are color profiles on the camera. You do not only have to shoot with them in JPEG, you can also apply them to video.

• 28:41Speaker 05

  Video.

• 28:42David Imel?

  Yeah. And so I literally was not color grading at all. I was just choosing the one that fit what I was shooting the best.

• 28:49Speaker 05

  Yeah. We, so we talked with this creator named Colt Kirwan, who is like, I don't know if you guys have seen his stuff. His, his videos are just like so charming and fun. And we asked him about Fuji and he said like, But yeah, instead of competing with the big camera brands, Fuji has

• 29:08Speaker 02

  Had a different experience where um your JPGs magically look really good and you can kind of customize within camera versus throwing it into Lightroom and having to do that already. Um, so I feel like Fuji has really gotten a cult following in the past couple of years because of their specific film emulations in that, oh, you don't have to shoot raw anymore. I just shoot JPG, blah, blah, blah. Um, and it's it's nice. I think it's a a breath of fresh air when everything is like competing on the technicalities. It's like, okay, we don't have to be perfect. Let's just make something fun to use. Yeah.

• 29:46Speaker 05

  And that key word fun.

• 29:48David Imel?

  Yeah.

• 29:48Speaker 05

  Came up over and over and over again when we talked to people.

• 29:53David Imel?

  So Fuji is the the nothing phone of of uh.

• 29:57Speaker 05

  I think I think nothing is more utilitarian.

• 30:00David Imel?

  Really?

• 30:01Speaker 05

  I because I would buy my mom.

• 30:04David Imel?

  It's like the mono razor.

• 30:06Speaker 05

  I think so.

• 30:07David Imel?

  Okay, that's fair. Yeah, I guess the fun aspect of like, we're not going to have the craziest specs.

• 30:12Speaker 05

  Mm hmm.

• 30:13David Imel?

  Right. But when you use it, you will feel you will feel things.

• 30:16Speaker 05

  Yeah. Yeah. So so Brandon, who is like the chief cinematographer at LTT, I'm keeping his resume. Um, he said like.

• 30:23Speaker 02

  Fuji is probably the most fun in terms of all the brands. Because if you've never owned a camera before and you're just starting out, I think that they allow it. That the tactile feeling of the lens is the way that the cameras are built, the button placement, the shutter angle, the way that dials are used on the cameras. It's all very well thought out and especially if I think back to myself as a beginner, like that used to be kind of the appeal of Canon. Is Canon was very approachable and it wasn't super like difficult. You don't have to think about a lot of stuff. You could just start learning and that's the thing too is I find that what what Fuji picked up that idea from Canon is that they pushed it further by saying, well, let's not just.

• 31:03Speaker 05

  Make it easy and accessible. Let's make it like an experience that feels good. So fun and colors popped up over and over again in our interviews. But if you want to buy a Fuji camera specifically to make videos. We talked to a creator named Joshua de la Victoria. Yeah. Who does, um, he's a touring guitar player and he'll shoot like guitar videos, either teaching people guitar or just like doing cool covers. And he needed like a compact, simple, easy camera to shoot.

• 31:31Speaker 04

  And then using the Fuji, I kind of fell in love with photography side of it. Cause I mainly bought it for video and then I was like, oh, this thing also shoots awesome photos, of course. It made, it made photography really fun in a way that I think other cameras don't.

• 31:45Speaker 05

  I think that these are probably still, still cameras.

• 31:50David Imel?

  There's an, there's a whole era of this happening. This may be around the same time that, so I remember also getting into still cameras, getting good at video, like Canon 5D kind of was the beginning of a lot of these trends where, oh snap, big sensor, shallow depth of field, looks like movie. I can make movie with still camera.

• 32:10Speaker 05

  Yeah.

• 32:11David Imel?

  And if you put the right lenses on a 5D and a 5D Mark II, you can get this incredibly beautiful video. And then I think around GH2 or GH3, people started like hacking them and putting the, the magic lantern software on them and getting higher bit rates out of them and doing the same sort of stuff with those cameras. And there was this little mini era of this is actually a camera for photos, but I can make videos that look pretty good with.

• 32:34Speaker 04

  A big thing for me was I started doing more like work for clients, like photo stuff or video stuff for other people. Because like, I guess, um, I had somewhat of a distinct style that other people kind of wanted. So then I was starting to do some freelance stuff and I was having a lot of trouble with. The Fuji did not have any kind of image stabilization. And I didn't want to invest in like a huge rig or like I don't like using gimbals. I find them really annoying to use and the autofocus in the Fuji was horrible.

• 33:08David Imel?

  So at one period of time, all of a sudden the processors got fast enough. The sensors got good enough readout speed where every camera could be a hybrid camera. So with the person you talked to, it is understandable that they would have switched off of Fuji. Because Fuji still is geared towards the photography workflow. But I would argue, but I would argue that if you shoot manual for everything and you control everything. You want that, they're still very good for that.

• 33:37Speaker 05

  I think that makes a lot of, because I think the big things that we heard for why people maybe don't like Fuji for video are oftentimes there's a 30 minute record limit. That's not like a hard and fast rule, but oftentimes depending on which Fuji camera you're shooting on.

• 33:49David Imel?

  Yeah, that, that used to be an import. It was an import tax rule because basically if it, if it could record for over 30 minutes, it was taxed as a video camera, which is a much higher tax. And it would have jacked the price of the camera up by a ton. So most of the cameras.

• 34:05David Imel?

  A lot of cameras from that day had a 29 minute, 59 second.

• 34:07David Imel?

  Yeah.

• 34:08David Imel?

  Yes.

• 34:08David Imel?

  Exactly.

• 34:09David Imel?

  It was very dumb.

• 34:10Speaker 05

  That's ridiculous. And then the other thing is like autofocus isn't fantastic for Fuji cameras. Like there's a lot of stuff where like if you're, if you're running gun, you just have to like figure out which settings would be good. But if you really like stylistic color and there's not a lot of like intense movement in your videos.

• 34:27David Imel?

  Yeah.

• 34:28Speaker 05

  It's like, it's a real contender.

• 34:29David Imel?

  I would agree with that. Also, just side note.

• 34:31Speaker 05

  Yeah.

• 34:32David Imel?

  The Fuji XT series cameras, they use APS-C sensors, which are smaller than full frame. And then they also have this GFX series, which is larger than full frame, it's medium format. They never wanted to compete in full frame because Canon, Sony, Nikon are all in this space. So they were like, we can dominate the APS-C space and we can dominate the medium format space. So they, they never even competed with full frame, which I think is another reason that people didn't start using them for video either. Because people wanted.

• 35:04David Imel?

  Full frame experience.

• 35:05Speaker 05

  Yeah, right. Okay, so speaking of sensor size.

• 35:08David Imel?

  Yeah.

• 35:08Speaker 05

  I want to talk about Panasonic because I, even though Panasonic does have full frame cameras right now, I largely associate Panasonic and their brand with they do a lot before everyone else.

• 35:19David Imel?

  Yes.

• 35:19Speaker 05

  They oftentimes don't get good credit for it. Their color science is a little weird and they do, and they have micro four thirds sensors, which have, I would argue, more downsides than upsides. But what are your initial impressions on Panasonic before we dive into some of the conversations we have with creators?

• 35:35David Imel?

  I'm like making smartphone analogies in my head. They're like the OnePlus, like people who are really, really into specific sets of specs and things they want to get out of a camera.

• 35:43Speaker 05

  Hundred percent.

• 35:43David Imel?

  Like the Panasonic move.

• 35:44Speaker 05

  Yeah.

• 35:45David Imel?

  So understandable why some people will gravitate towards it, but why they might not become like a mainstream huge option.

• 35:51David Imel?

  I will say note, because they were micro four thirds, the sensor size will dictate what you can do on the camera, because you have to have so much data readout. Panasonic was the company that brought a lot of features to the camera industry because they had the smallest sensor. So it was easier for them to move the data.

• 36:09Speaker 05

  Optimize.

• 36:10David Imel?

  They could add the features because they didn't have to move as much data in order to allow things like log recording and things like that.

• 36:18Speaker 05

  Right.

• 36:18David Imel?

  So it, the way it always went was it was like, oh, we got five axis stabilization in, in micro four thirds. And now it comes to APS-C and now it comes to full frame.

• 36:27Speaker 05

  Yeah.

• 36:28David Imel?

  So, yeah.

• 36:29Speaker 05

  So I guess for, for those following along, if you're still listening, but you're also confused, thank you so much.

• 36:36David Imel?

  I know this is not our normal waveform conversation.

• 36:39Speaker 05

  Thank you so much.

• 36:40David Imel?

  Yeah.

• 36:41Speaker 05

  Um, no, no, but essentially like Panasonic uses smaller sensors.

• 36:44David Imel?

  Yeah.

• 36:44Speaker 05

  Right? And that, that leads to on paper more advancements.

• 36:47David Imel?

  Yes.

• 36:48Speaker 05

  Yeah. But a lot of their, I guess, a lot of the reason that Panasonic has historically been able to be ahead of the game.

• 36:54David Imel?

  Because they use smaller sensors.

• 36:55Speaker 05

  Because they use smaller sensors.

• 36:56David Imel?

  Correct. Take a series with computational photography.

• 36:59Speaker 05

  Yeah. Okay. Okay. So we were only able, we were only able to find one creator who regularly shoots on Panasonic. His name is Stuart Hicks. He's an architecture professor in Chicago and he makes videos about architecture. Shout out Chicago, greatest city on earth. And.

• 37:20Speaker 05

  What is it? New Jersey? Jersey Hoboken? No. Top 10.

• 37:24David Imel?

  San Francisco. San Francisco.

• 37:26Speaker 05

  Okay. All right. Well, delusion aside. It's right there, guys.

• 37:32Speaker 05

  So we asked him, like, why do you shoot on Panasonic? Your videos are gorgeous, but why did you do that?

• 37:37Speaker 00

  So I still use the very first camera that I ever purchased for doing this stuff. And it's a Panasonic GH5 from the year 2020.

• 37:48Speaker 05

  And he goes, you know, he still uses the first camera he ever bought. He bought the GH5 in 2020. And he kind of immediately just went into things he didn't like about it.

• 37:59Speaker 00

  I mean, one question is, are you going to be in a studio or out in the world? I think that that makes a big difference. In the studio here, for instance, the autofocus doesn't matter. I can set it and it doesn't become a problem. GH5 has notoriously awful autofocus. It is unusable. You know, I've made videos of the, the way I learned that was I made a video where I used autofocus. And I thought it'd be fine because I was just sitting there and a viewer commented about how it was unwatchable because of the focus breathing.

• 38:33Speaker 05

  He's like, the GH5 has kind of notoriously awful autofocus. He's frustrated with a lot of aspects of Micro 4/3s. And then he's like, you know, he loved things like shallower depth of field, stuff like that. And so in addition to like the actual sort of marketing advantage of Micro 4/3s, we also asked Tyler Stalman, who's like this excellent camera creator. So he's like, there are three basic reasons. When we called him, his video was like gorgeous. And we're like, what are you shooting us on, bro? He's like, he's shooting on a GH7. He was shooting on Panasonic.

• 39:01David Imel?

  Yeah.

• 39:02Speaker 03

  And he said, There are three use cases that I think Micro 4/3s is actually the best for. Because in many ways, you know, less depth of field, less dynamic range, noise isn't as good. But there are some things it does better at. One that we're looking into right now is we're quoting on a client that we currently do their vertical social media. But we might want to do the same campaigns in horizontal and a Micro 4/3 sensor is as close to square as you get. So if you need to shoot for both formats at the same time.

• 39:34Speaker 05

  There's, there's really no better sensor. Like you get almost a square. So when you crop both, they both look good and are not compromised. And a new firmware update actually lets you move multiple markers around. So for me, I would say that like, I want to use the bottom 16 by nine of the image for YouTube. And then I want to use the center nine by 16 for Instagram. And you can see those markers as you're shooting, which I think is, is pretty amazing. And you can only do on something like the GH7. This is usually like referred to as like open gate.

• 40:06David Imel?

  Open gate.

• 40:06Speaker 05

  Shooting. What's open gate?

• 40:08David Imel?

  Generally, what you have, you have a sensor and you project the light over the sensor. And generally, you're not using the whole sensor because displays are usually 16 by nine, two by one, whatever. When you're recording on that sensor, you're only recording a certain amount of it. Open gate recording, just like the throughput thing that we were just talking about with Micro Four Thirds, where they advance faster than other companies, is where you use the entire sensor and you read the fourth sensor, which is normally for a four by three aspect ratio.

• 40:38Speaker 05

  Reason number two that Tyler said Micro Four Thirds could be useful is as an overhead camera, like, like, just like a simple top down, because Micro Four Thirds, traditionally, you're not going to get a super shallow depth of field. So it's just clutch. So you can get like everything in focus.

• 40:52David Imel?

  More in focus.

• 40:53Speaker 05

  Yeah, exactly. And then the third reason is because it's a smaller sensor. So generally, stabilization is better.

• 41:01David Imel?

  Yeah.

• 41:01Speaker 04

  Smaller, lighter body.

• 41:02David Imel?

  Totally.

• 41:03Speaker 05

  Also, really cool bonus that 99% of people wouldn't care about, but people would yell at us if we didn't mention.

• 41:09David Imel?

  Perfect.

• 41:09Speaker 05

  Tyler was using Ari colors on his Panasonic camera, because Panasonic has, like, I guess in agreement with Ari, to like optimize Ari color science for Panasonic. So if you wanted to shoot Ari and get a bit of an Ari look.

• 41:23David Imel?

  I did not know that.

• 41:24Speaker 05

  We could, we just find like a really, really, really open wide aperture lens plus Ari color science. And, and then, and then we'll, and then we rent an Ari camera and we get to do a photo shoot of you holding it.

• 41:37David Imel?

  Interesting. I wonder how much of that is similar to the red color science on the Enra, because when I applied those LUTs, they did not really look like red. They're very nice.

• 41:46Speaker 05

  Tyler spoke pretty highly.

• 41:47Speaker 04

  Yeah.

• 41:48Speaker 05

  I know Ellis has mentioned like a production company as well, that like loves shooting on Panasonic and has shot like these excellent shorts.

• 42:01Speaker 03

  Cool YouTube video called Media Division that does like, uh, like really, really, really intense camera stuff. And their whole thing is if you want to buy a cinema camera, just buy a GH6 or a GH7 or.

• 42:13Speaker 05

  Yeah, just use the right color.

• 42:14Speaker 03

  Yeah, they're just like, there's no, yeah, but that's them.

• 42:17Speaker 05

  Super interesting.

• 42:19David Imel?

  Also, uh, I mean, it can often be easier to adapt more lenses as well to smaller sensors because you can more easily cover the sensor. You can't adapt a micro fourth thread sensor to a full frame, a micro fourth thread lens to a full frame camera.

• 42:34Speaker 05

  Yeah.

• 42:35David Imel?

  Yeah.

• 42:35Speaker 05

  Alright guys, we have one more brand before we get to our break.

• 42:39David Imel?

  Yeah, I noticed the elephant in the room.

• 42:41Speaker 05

  With two more brands, right?

• 42:42Speaker 04

  We're missing two, yeah.

• 42:43David Imel?

  Yeah. So we're gonna do one more, then do a break.

• 42:46Speaker 05

  That was the elephant for all the audio listeners.

• 42:49David Imel?

  Okay.

• 42:49Speaker 05

  Um, okay.

• 42:51David Imel?

  We technically didn't do Canon yet, either.

• 42:52Speaker 05

  Okay, so we're on, so I want to talk about Canon.

• 42:55David Imel?

  Okay.

• 42:55Speaker 05

  So.

• 42:55David Imel?

  Peter McCannon?

• 42:57Speaker 04

  Nice.

• 42:57David Imel?

  Whoa.

• 42:59Speaker 05

  That worked out too well.

• 43:00David Imel?

  I just made that up.

• 43:00Speaker 05

  We could end the video here.

• 43:03Speaker 05

  Okay. We can hear that Red Bull slur. It's crazy. Okay. When people talk about Canon cameras, they talk about it like with this insane nostalgia, like, oh, I couldn't, like, oh, I loved them. Like when, like, so we, we had Casey Neistat come in because when I think about a creator who shoots on Canon, I still think of Casey Neistat. That daily vlog, the 300 day sprint insane thing, that was all Canon. And so when we asked Casey to come in and just tell us about the cameras he used.

• 43:35Speaker 02

  There was a camera called this Canon. I cannot believe I can't remember the name of this camera. The HBO show Catfish, you know that show? Like, be careful who you date. That, that show was predicated by a documentary called Catfish that my friends made. And most of the documentary Catfish, that was at like Sunday at Film Festival, MTV bought it, put it in 2000 movie theaters. That movie was shot primarily on T1, T1? Are you looking it up right now? I'm looking up, there's a few. T, no, no, is a vertical form factor. It was way before that. Triscannon T1, T.

• 44:16Speaker 02

  Yes, and it was like the first kind of point shoot that was really optimized for video, not for stills. No, no, no, no, no, no. A beautiful.

• 44:30Speaker 02

  Where's my phone? Right now, if you're watching this at home, everybody in this room is on their phones trying to figure out the name of this camera. It's a stunning camera. Go to eBay and try and buy it if you can find one.

• 44:43Speaker 02

  Not even, is that beautiful?

• 44:46Speaker 02

  What's the name of the Canon camera that was like all stainless steel, it was really small, it's the one Rell Film Catfish on? Like the flip outside? That's it, that's it. What's the name of that?

• 44:58Speaker 07

  TX-1.

• 44:59Speaker 02

  TX-1, Van Nice that knew it. Thanks, Van.

• 45:01Speaker 07

  Yeah, I still have mine.

• 45:03Speaker 02

  Me too, I have two, but...

• 45:06Speaker 02

  The Canon TX-1.

• 45:08Speaker 05

  First of all, like, that was like a, that was a very fun experience, getting, getting to talk to him. I think as a, as a youth in this space, it's very cool being able to go and interview Casey. Felt like a career moment for me. I don't think he knows my name. That's cool. My name is Rich.

• 45:25Speaker 04

  Yup.

• 45:26David Imel?

  My name is Earl.

• 45:27Speaker 05

  But yeah, but like so many people would wax poetic about like Canon in the past. Like we asked Colt Kirwan, who's like my Gen Z Casey Nice Dad. He said like,

• 45:38Speaker 02

  The way I see it was Canon had a chokehold on the market. If you want to be a real photographer, you get a Canon camera, right? Um, and there's still that, that boat. And then Sony kind of like from the, they were in the DSLR world and then Sony kind of took that leap to do mirrorless cameras and in the beginning they're like, uh, Sony's color science is not good or the battery life sucks, stick with Canon. And then I feel like now the mirrorless market has taken over everything. So that's where Sony has kind of like quote unquote failed, I guess, and then continued to iterate until they perfected it.

• 46:16David Imel?

  Similar to Nikon, they released their first mirrorless camera like the same time Nikon did. Like it took them a really long time, but they had a very strong stronghold. The strong squared hold on the like prosumer DSLR market.

• 46:32Speaker 05

  Right.

• 46:33David Imel?

  Right. They had the one DX camera, which was like insane. Canon, the reason they're good for like Casey Neistat is because their autofocus has traditionally been like some of the best in the entire industry. It has changed a little bit more recently, but up until recently, like they had the best autofocus in the industry.

• 46:53Speaker 05

  Yeah.

• 46:54David Imel?

  By far.

• 46:54Speaker 05

  It's also color science. I find the advantages of the Canon in terms of color are more at the entry level. Like if you don't want to touch it, it's just going to give you something pleasing right away, no effort. Once you take it a step deeper, like for professionals, I don't actually think it matters. I think you, Sony and a Canon and a Lumix and even, you know, even where Fuji is right now, like everything that has a modern log profile can be matched, which wasn't the case a few years ago.

• 47:27David Imel?

  We talked with a creator named Inga, who's a food creator. And she just like makes these great food videos and wants to focus on the food. And she said that someone in the comments described her videos as like a Rembrandt painting.

• 47:38Speaker 07

  A lot of like why I do what I do is I want people to have like a better relationship with food. I want them to like be introduced to cooking in a way that doesn't feel like burdensome. And so I think the lighting I use kind of want to translate to that, like not just like, like, of course I want it to feel warm. I want it to feel comfortable, but I also want it to feel like it's not something that's overly produced in the sense of like, oh, we're in a studio and like, we're going to bang through all these recipes. And more just like, this could be an average day in your life too. So that kind of translates a little bit to that. But I also think like recently there was a comment that said the color was a little bit like Rembrandt style. I think my lighting, because, because winter time it's darker now. So my natural lighting is a little darker overall, but I think it kind of played into it a little bit,

• 48:23Speaker 07

  which I kind of also like, but you know, I, I think it just fits sort of the homey vibes overall.

• 48:29David Imel?

  It's this soft. It's always like a little bit warm with like silly raised shadows. And it's kind of this like dreamy, warm.

• 48:37David Imel?

  Tone thing. Canon is very, very often used in the wedding industry for that reason. Because you don't have to do as much editing if you're just like editing some JPEGs because it has very warm, natural skin tones.

• 48:48Speaker 05

  The next bonus up, I'll get married if this video hits 200K views. And I'll do, and then I'll do my bonus episode there, shot on Canon.

• 48:57David Imel?

  Nice. Does your girlfriend know about this?

• 49:00Speaker 05

  What girlfriend, David?

• 49:01David Imel?

  It is fascinating.

• 49:02Speaker 05

  We're getting married, David.

• 49:05David Imel?

  I will say it is fascinating to see the reasons, the very, very specific reasons that certain cameras and brands get selected for certain applications. That is like, okay, the wedding industry, the warmth, the friendliness. Okay, Canon color works for that. I have my own reason actually for red too, which I've told the story before, but skin tones, specifically darker skin tones. With red color science, not even close. No one else is close.

• 49:31David Imel?

  And I think there's, there's like a bunch of other reasons, like people might choose Sony, Blackmagic, Ari for specific color reasons. For whatever projects there are. And it's always fun hearing those.

• 49:41Speaker 05

  The whole like, oh, I buy this camera for color thing. The more we looked into it, like we asked Tyler about this and he was like, dude, once you have 10 bit color, it doesn't matter. And like, if you're buying a Blackmagic. Yeah, I suppose.

• 49:53Speaker 04

  Yeah. No one wants to go in and drop a load on all their color, right?

• 49:57Speaker 05

  All right. So, so we've, you know, we've gone through all of these brands, but there's, there's an issue. There is one camera brand that absolutely ran away with it. One third of the creators we spoke to either were shooting with this camera, switched to this camera, or were considering switching to this camera brand, including Casey Neistat, Austin Evans, and so many others. So.

• 50:19Speaker 04

  And us.

• 50:20Speaker 05

  After the.

• 50:22Speaker 04

  Yeah.

• 50:23David Imel?

  So.

• 50:24Speaker 05

  After the.

• 50:29Speaker 05

  After the break, what is the camera brand that every creator seems to want to switch to? And is it overhyped?

• 50:36David Imel?

  It's Sony. It's not overhyped. It's so new. We love switching. There's a lot of reasons. I'm totally game to do the next session. I know. I'm all for it. Sorry, it's great. That's true. Big guy. There's so much in town.

• 51:02David Imel?

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• 52:42Speaker 05

  Alright guys, Sony.

• 52:45David Imel?

  We gotta talk about Sony.

• 52:46Speaker 04

  Yeah.

• 52:47Speaker 05

  Wait, could we do it where everyone at the table just says Sony really quickly?

• 52:52Speaker 04

  Sony.

• 52:52Speaker 05

  Just like...

• 52:53Speaker 04

  Sony.

• 52:53David Imel?

  Yeah.

• 52:53Speaker 05

  Alright, ready?

• 52:54Speaker 04

  Sony.

• 52:55Speaker 05

  Alright guys, Sony.

• 52:55Speaker 04

  Sony.

• 52:56David Imel?

  Sony.

• 52:57Speaker 05

  Sony.

• 52:57Speaker 04

  Sony.

• 52:58Speaker 05

  Sony.

• 52:58David Imel?

  Sony.

• 52:59Speaker 04

  We love Sony.

• 53:01David Imel?

  You know how when you say a word too many times, it starts sounding like...

• 53:09Speaker 05

  Uh, yeah.

• 53:10David Imel?

  That's me now.

• 53:10Speaker 05

  So, okay, creators...

• 53:12David Imel?

  Knee.

• 53:13Speaker 04

  Sony.

• 53:15Speaker 05

  I have to find a different conjunction.

• 53:17Speaker 04

  Hey, there we go.

• 53:22Speaker 05

  Creators love this camera. Just to list off a few of the creators that we've seen and haven't seen who use it. We talked to Shua Films. He's the co-founder of this like magazine studio in Chicago and he also has his own channel called... The magazine studio called Powder Blue. His channel's called Shua Films.

• 53:40Speaker 03

  You know, when I started vlogging, I... The main person that got me into it was of course Casey Neistat. I think a lot of us. For me personally, I... When the Sony A7-4 came out, it was kind of the perfect camera for me at the time because it was a nice hybrid of photo and video. And just like the autofocus was always trustworthy when it came to Sony's, especially like the recent years.

• 54:03Speaker 05

  Brittany, who's this DP who we talked to about Blackmagic, she switched from Blackmagic for her YouTube videos to the Sony FX3.

• 54:10Speaker 07

  I'm always recommending some kind of Sony camera, you know, because it's just, it is easy. So I just think it's so versatile. I use it for client work all the time because people, even clients, know about the Sony ecosystem. So that is also a go-to camera for them. So it's just one of the most versatile cameras I've ever used. And I've pretty much used every brand possible.

• 54:30Speaker 05

  Clients know like Sony has a rep and so they actually feel more confident seeing...

• 54:34David Imel?

  That's funny.

• 54:35Speaker 05

  Yeah. Like people with that...

• 54:36David Imel?

  That's true about Red in the past.

• 54:38Speaker 04

  Yeah.

• 54:39Speaker 05

  We asked Colt and he said... So I feel like the A7 S3 came out and kind of changed the game for everybody. This is everything you could have ever needed. You know, we had great battery life and the color science was now 10-bit color. So now you can actually color grade it and stuff. Um, and yeah, like the dual...

• 54:58Speaker 02

  Native ISO that it has, allowing it to basically shoot, I mean, it's it sees better than we can see, you know? That really made it so versatile to where you weren't kind of like subject to, uh, you know, like, the sun went down, so we can't really shoot anymore. But now you can shoot whenever. There's no more excuses.

• 55:17Speaker 05

  We asked Austin about this and like, he, I mean, he switched from Red to a full Sony stack. He said like, FX3. We shoot entirely on Sony FX3, FX30, A7S3.

• 55:25David Imel?

  There's no complaints I have. Like I just, I like, when our A7S3s die, where's to buy another one? I just, there's nothing else that we need. And maybe there's an FX4 or an A7S4, whatever. And, you know, they bring out 4K 1000 or something cool, whatever. But like, it just, it has completely changed the way that we shoot videos. And it's crazy to think that it's been five years and this camera still feels like it's absolutely badass.

• 55:48Speaker 05

  And then we asked Casey about it and he cited a few key features for that, like he just loved.

• 55:53Speaker 02

  It was smaller, it was lighter, it felt tougher. It had, I think, the magnesium body or metal body instead of a plastic body like the T2 series. Um, but most importantly, it had a lens that fit around, that had a hot shoe on the top. So those two were never in competition with one another. And it had the touch the screen to focus, which was a gigantic leap for me. Um, there's a lot of shots where I'm talking to camera and without my arm entering frame, I tap behind me and it rack focuses to whatever I'm talking about. And I would often also sort of point to what I'm talking about. And I'm able to frame that in real time with my sunglasses without breaking out of contact with the lens, rack the focus and then frame my finger pointing at something in the background, which is a super dynamic shot.

• 56:37Speaker 02

  And I was able to do it by like tapping the screen once and filming by myself with no assistance. And I think like Sony was the first camera that enabled me to work with like that level of precision.

• 56:48Speaker 05

  That's like all people who use it. We also talked to like Stuart. He said that he shot one shot in a video on the Sony FX3 and he shared it to somebody and they were like, what was that specific shot?

• 56:59Speaker 04

  He said, he saw the FX6 shot and without knowing, and he was like, wow, that is gorgeous. How did you guys get that? I was like, oh man, the fact that you could point that out without.

• 57:10Speaker 05

  Knowing that it changed cameras like that, that hurts a little bit. So I think that prompted me to think, oh, well, you know, this is, this is kind of important. The rest of the video is Panasonic and someone was like, oh, I like that. Like, people are like gravitating to the image of Sony cameras. Sony is

• 57:27David Imel?

  Which is a newer thing, to be fair.

• 57:28Speaker 05

  It's super new. Okay. What happened?

• 57:32David Imel?

  You really, you really want to know what happened?

• 57:34Speaker 04

  Yeah, let's hear it.

• 57:34David Imel?

  Sony got good? I mean, I remember thinking about switching to and using more Sony in the early mirrorless camera days for them. This was a seven, a seven S, the first ones, which were like super good.

• 57:49Speaker 05

  This was instead of like your C100 or?

• 57:51David Imel?

  No, this was like, I, I, so I shoot red and then I have like sort of smaller crash cam and stuff for like R5 basically.

• 57:57Speaker 04

  Yeah, right.

• 57:57David Imel?

  And, uh, you know, the built in mics for Sony's A7 series were good and the color science was way less magenta and way more usable and maybe even matchable to the red stuff. And I was starting to get like, oh, maybe I'll, maybe I'll shoot more Sony stuff. And even to this day, on and off, we, we roster some Sony cameras. We don't shoot with them very much, but they're very useful.

• 58:18Speaker 05

  But Rich, you, yeah, you like, you're trying to switch us.

• 58:21David Imel?

  Yeah, wait, wait, Rich.

• 58:22Speaker 04

  I am absolutely trying to switch us.

• 58:24Speaker 05

  Give Mark has the pitch right now.

• 58:24Speaker 04

  Look, when we were at South by Southwest and we were, you know, in the audience, I would have died to get some FX6s for the dual native ISO. Um, it was very dark in there, very challenging situation. And our C70s and R5s could not handle the dark environments.

• 58:40David Imel?

  Yeah, this is fair.

• 58:41Speaker 05

  The less control you have over the environment, the more Sony makes sense because it just makes so much of the process. Not, thoughtless isn't the right way to put it, but just like, you just, the last thing you think about is the camera itself.

• 58:54David Imel?

  Yeah. So Sony's are kind of computers with lenses attached to them. They were very early moving to the mirrorless, uh, camera game and that gave them a leg up in the many years that followed, right? Something that's really good about Sony is mirrorless cameras have a shorter flange distance than non mirrorless cameras. And a flange distance is the distance between, uh, the lens mount and the actual sensor.

• 59:20David Imel?

  This allows you to adapt basically any lens you want to it that is, you know, covers the full frame sensor. Because of that, a lot of people that shoot Sony will often be able to use like vintage lenses or all these dreamy lenses or all these different things.

• 59:33Speaker 04

  And that's the E mount, right? And that's why everyone loves E mount.

• 59:35David Imel?

  That's why everyone loves E mount. You were also, you also had five axis stabilization. Newer Sony cameras, like you said, had dual native ISO. Native ISO. ISO is basically electronic gain where you're taking the image on the sensor and you're amplifying that image. There are noise pixels and there are clean pixels. If you're amplifying the ISO, you're also amplifying the noise. So it makes it a lot easier to see. If you have dual native ISO, the native ISO is the cleanest the sensor can be. So once you hit that native ISO, you're back to a very low, yeah. Sony cameras, very famous for being able to basically see in the dark.

• 1:00:10Speaker 04

  Yeah.

• 1:00:10David Imel?

  Because they have a low native ISO and a high native ISO.

• 1:00:14Speaker 05

  For the easiest experience to get a high quality video, it's really tough not recommending the Sony A7S3. The low light and stabilization alone just make it so versatile that it's kind of the perfect camera for YouTube.

• 1:00:28Speaker 04

  But over the past few years, Sony hasn't just cemented its cameras as great options, but its entire ecosystem.

• 1:00:36Speaker 05

  Their ecosystem is completely compatible from cheapest, like the color science on the FX3, the same.

• 1:00:42David Imel?

  Because the sensor is exactly the same as the A7S3.

• 1:00:46Speaker 05

  The E mount is completely, completely ubiquitous. So it's one of those things where it's like, if my dream is to be a cinematographer on a set one day, and if I go and I buy an FX30, like an APS-C cinema camera, I could use that glass one day when I upgrade to a Venice, or I could use that footage on a shoot with a Venice as just like a simple B cam.

• 1:01:04David Imel?

  Totally.

• 1:01:04Speaker 05

  You know what I mean? And so it just becomes this like insane, like it's just kind of a no brainer if you have to buy one camera.

• 1:01:11Speaker 04

  Yeah.

• 1:01:12Speaker 05

  But that's also what gave me like massive existential dread about this video. Because I was like, are we really gonna make an hour long video about what camera you should get? And I was like, oh my gosh, like, we're just gonna talk about Sony. Like, it freaked me out.

• 1:01:25David Imel?

  I don't know, there's like a lot of different reasons, but they did sort of build out an ecosystem.

• 1:01:30Speaker 05

  Their ecosystem is amazing.

• 1:01:31David Imel?

  Because again, they have the A7S3 and the FX3, and then the FX30 if you don't want to spend as much money for the FX3.

• 1:01:37Speaker 05

  Yeah.

• 1:01:38David Imel?

  And the FX line is like similar to what Marquez was saying with the red being basically a brain. You build stuff around it. If you need that, you get that. If you don't need that, you get the A7S3. Like, they have so many options.

• 1:01:49David Imel?

  I, I will admit, I am definitely behind on my appreciation of Sony as an ecosystem and as an image. Because most of my experience with shooting Sony, I have an A7R, I think I've shot most of my video stuff with A7R3, and I have an A1. Uh, so I have not shot FX series ever. So that's obviously a huge gap. Uh, and I think just menu system stuff, little things like about the colors that come out of that camera, and me trying to match it with a red is probably unfair. It's not ever gonna quite match. But how versatile the entire lineup is, and how many different options they have across the board, to just have a camera for whatever situation we need to get an image from, is admirable in a way that makes me want to give it another shot.

• 1:02:31David Imel?

  And when they released the new sensor that went in the A7S3 and the, um, other one.

• 1:02:37Speaker 05

  It's an FX3.

• 1:02:38David Imel?

  FX, uh, that sensor is way better than the old sensor used to be, just in terms of color.

• 1:02:43Speaker 05

  Yeah.

• 1:02:43David Imel?

  Because Sony sensors used to be like ubiquitous with like purple, magenta color.

• 1:02:49David Imel?

  I could watch a YouTube video, a vlog, and a clip on YouTube, and I'd be like, ugh, Sony. Like, without anyone saying anything, I'd be like, ugh.

• 1:02:57Speaker 05

  You could say the same thing, but you could say the same thing about Panasonic. You could say the same thing about a lot of different cameras.

• 1:03:01David Imel?

  I kind of felt that about that, about Blackmagic, uh, at least back in the day. I could see Canon and basically identify it right off the bat. And then, yeah, there was a little bit of red sprinkled in there, and I'd be like, oh, my people.

• 1:03:16David Imel?

  So I, yeah, I still feel like I have that pretty dialed, but there's a lot of Sony development that's happened since then.

• 1:03:22Speaker 05

  Yeah. When we talked to Becca, something that she brought up that was really interesting is how Sony invests in creators.

• 1:03:29David Imel?

  That is also a massive player here.

• 1:03:32Speaker 05

  She was like, I went to this Sony event.

• 1:03:34David Imel?

  Yeah.

• 1:03:35Speaker 05

  And in her words, it was popping. Ever like, people were there, you know what I mean?

• 1:03:40David Imel?

  Kids are there.

• 1:03:40Speaker 05

  Yeah, like, yeah, there's like this little ecosystem and like Casey switched to Sony, like, there's all this like clout ecosystem in addition to like the fact that these are, are good cameras.

• 1:03:51David Imel?

  Like Sony hosts these like camps and these like, these like projects that people can go all work on together. Multiple times a year.

• 1:03:57Speaker 05

  Yeah.

• 1:03:58David Imel?

  And they invite creators from like various different levels of subscribers. They do this for the same reason that Google makes Chromebooks. Chrome, Chromebooks are not made to be sold to regular people. They're made to be put in elementary schools and get kids used to Google services. So when they grow up, they keep using the Google ecosystem. And so if you're a, if you're a camera user, especially because the ecosystem of a camera is glass, which is extremely expensive. Accessories of which Sony makes ones that only work on the Shoney Hot Shoes.

• 1:04:34Speaker 05

  Yeah.

• 1:04:35David Imel?

  If you're investing in this ecosystem, you're way less likely to just sell everything and move out of it. So doing this outreach is like very smart, not just because you will make a sale now, because you're most likely to make many sales in the future.

• 1:04:48Speaker 05

  Marquez, in our interview, asked me, do you have a dream camera to shoot on? And I was like, I don't know.

• 1:04:56Speaker 04

  I have a dream camera.

• 1:04:57Speaker 05

  Well, an FX6? I kind of shrugged because I was one of those kids who just like, I got an A6300, I was on E-mount, I understood the menu system and I was just like, yeah, I guess, I guess, I just keep shooting Sony. But I've come to really like shooting on Canon, which is what we do on the Studio Channel, but yeah, no, it's, I can attest to it. They, it worked. They got me hooked as a youth.

• 1:05:17David Imel?

  Yeah.

• 1:05:18Speaker 05

  But I think I, I like, I walked away with like a little bit of like dread here for a couple of reasons. For the, for the video itself. I was like, I don't like this as an ending. I don't want to make a video where I'm just like, well, everyone else shoots Sony, so you should too. Like, it just didn't, like, usually we'd scrap this video, but to be honest with you, like, I introduced myself to a lot of these creators who I really liked to this video, and I was really scared that like, I was gonna embarrass myself in front of these people that I'd spent a long time trying to build a career where I could feel confident talking with them. And I, I think it was also just like, I don't know if I like the idea of the internet just increasingly looking just like Sony cameras. Like, there's

• 1:05:58Speaker 05

  is something existentially scary and maybe even monotonous about the idea of like, well, you just buy a Sony camera if you want to be like, the modern filmmaker YouTube stack. It was, it was kind of depressing to me.

• 1:06:12David Imel?

  Yeah, I think we all root for competition in general. And so since we know that mirrorless cameras are this wave and Sony is at the crest of this wave, it kind of feels like Sony is the only thing anyone can be using. But I think everyone is on their way catching up, adding features, making new cameras. And there will be another wave in the future, and it'll be like, oh, my God, everyone uses Nikon now or Nikon now. It'll be, I think there'll be more waves in the future. But at the same time, it's, it's way less regional than smartphones. I think if Sony is dominating in cameras, where everyone has free choice, that must just mean they're making really good cameras.

• 1:06:45Speaker 05

  Oh, absolutely.

• 1:06:46David Imel?

  And I got no problem with shouting out quality of product.

• 1:06:48Speaker 05

  That's fair.

• 1:06:49David Imel?

  Like, they're actually making the best stuff. Okay, fine. They're making the best stuff.

• 1:06:52Speaker 05

  So, so we had one more conversation with the creator that I think kind of changed my perspective on the whole, like, what is the best camera? Because like, the whole take of, oh, the best gear is the one that you have.

• 1:07:05David Imel?

  David has a take on this.

• 1:07:07Speaker 05

  The best camera is the one you, I don't, I don't think that that's true. But I also don't think that you should just buy a Sony camera. So, we talked with the creator, who didn't buy a camera at all. He's a part of a team that grew their channel to over a million subscribers.

• 1:07:24David Imel?

  Using just smartphones?

• 1:07:25Speaker 05

  Using just iPhone 13s.

• 1:07:29David Imel?

  Wow.

• 1:07:29Speaker 05

  No, iPhone 14s. Apologize.

• 1:07:30David Imel?

  That's awesome.

• 1:07:31Speaker 05

  So after the break, this conversation with this creator, and what it says about making the right camera choice.

• 1:07:50David Imel?

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  That's J-I-R-A dot com.

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• 1:10:03Speaker 05

  So after hours of interviews, Rich and I are staring at the timeline for this video and we're getting nervous because figuring out where the story is is getting harder and harder.

• 1:10:16Speaker 04

  Yeah, at this point, we had looked at every popular camera brand and their ecosystem and it felt like the answer was just buy a Sony or that every camera brand is great and to not worry about your gear.

• 1:10:28Speaker 05

  Neither of those answers feel like they're satisfying or that they'll genuinely help you find the right camera for your videos. So out of a bit of desperation in our interview with Casey, I just straight up look at him and I go, Casey, gear still matters, right?

• 1:10:49Speaker 02

  I reject the supposition that it's important to understand gear and have gear. I reject it wholly. Yeah, I mean, I'm, I'm a, I've become much more of a sort of like anti gear purist. Like I think when someone says, I love that video you made. It's a beautiful compliment. It makes you feel warm on the inside. When they say, what did you shoot it on? It is the greatest insult you could ever say to someone. It's insulting and I take it personally. So, you know, especially when talking to newer creators, newer filmmakers, my line is always the gear doesn't matter. And by de-emphasizing the, the gear, what it does is it puts the focus back on what you uniquely bring to storytelling. And I think right now, like we're at the most sort of virtuous place

• 1:11:33Speaker 02

  in that technology cycle, which is that almost every camera out there, almost every phone out there gives you a look, gives you an aesthetic that is way above the line of good enough to do something great with.

• 1:11:45Speaker 05

  Casey talks about how we saw our S25 Ultra video. And, you know, it's kind of ironic that like this is a video about how the tech and the changes in the tech are kind of minimal and small. And the way that, I guess, do you want to describe how you differentiated that video?

• 1:12:01David Imel?

  I started by doing this really cinematic intro where I turned around and

• 1:12:09David Imel?

  Was an allegory where I went from the outside to the inside by going and turning around and cutting through the background and moving to the inside of the set. It was a fun cinematic piece that sort of started the story arc of the video.

• 1:12:22Speaker 05

  Yeah. And in Casey's words, he goes, "That one storytelling device was far more interesting to me than the last 20 gear upgrades that we had at a studio." And Marquez promptly asked him to leave.

• 1:12:38Speaker 05

  That is a joke. They get along very well. They're both very famous.

• 1:12:43Speaker 05

  That kind of speaks to why I think on like a philosophical level Sony catches on because Sony is all about enabling people to think about the context of the story and what's on screen and stop thinking about the camera. So you can constantly ask yourself like, "What do I want to depict?" Or "What's the story I want?" Or "What's the context I want to be in?" And like, "I can trust that this camera will capture that." And to an even more sort of extreme extent, we talked with Adam, who's a co-host on this YouTube channel called Jet Lag. He's a co-host on this YouTube channel called Jet Lag. Have you guys heard of Jet Lag? Have you seen this?

• 1:13:13David Imel?

  I've heard of it.

• 1:13:15Speaker 05

  Guys, this channel is so cool. So it's a travel game show like The Amazing Race. Like The Amazing Race, but the whole point of the show is like the chaos factor is 10 times more than any other reality TV show we've ever seen before.

• 1:13:30Speaker 04

  Like in The Amazing Race, you know, somebody might end up in the wrong part of town, but you're never going to end up in the wrong country. And we wanted to make a show where like, "Maybe you end up in the wrong country."

• 1:13:41Speaker 05

  The only way that they could make that show is by just shooting iPhone, stock iPhone app, no color grading, nothing. Cause they're chewing through tons of footage, so they need like a simple post workflow and manageable files. This got me thinking about shooting on iPhone in general. We asked Tyler about it. I think if you're just getting started out and you, you know, maybe you're not even sure if you're going to stick to filmmaking. If you pick up at least an iPhone 15 Pro, that's when Apple Log was introduced, you can take that as far as you want. You can make it look as good as those other cameras and learn all the most important lessons of

• 1:14:17Speaker 04

  Filmmaking with just an iPhone. Don't add any more than you need. The most essential things are a wireless mic, which both Rode and GGI make great tiny ones right now. And then an iPhone clamp. I designed one called the Stallman Clamp that. What's important to me, like whatever clamp you choose, the most important part is that it is rock solid. So like when you press record, it doesn't vibrate your phone. If you're doing something like transitions, you don't want the phone to like move in between. So looking for some kind of tripod clamp that is never going to change the shot when you're operating the camera. Dude, I get so many questions about people asking me like, oh, should I buy this like $3,000 guitar?

• 1:14:59Speaker 04

  And it's like, no, it's not gonna make you better. Like, whatever you have, just practice on it.

• 1:15:06David Imel?

  The storytelling is always going to be more important than the video quality. And that's actually where a lot of people that are just starting to get into making videos sort of like lose track. Yes, 1000% agreed. Really easy to just look at YouTube and get obsessed with the gear. Oh, yeah. I think there are a lot of people who watch a YouTube video from a YouTuber who's been doing it a long time and sees fancy editing or cinematography or camera work or something and goes, I want to make YouTube videos. What gear do I have to buy to be able to do that? And it's not about that. Yeah. Like the video process and the I want to make videos thing is all of the pre-work, the writing, the storyline, that stuff.

• 1:15:51David Imel?

  And getting people to care about that thing. And then if you have more time or if you're making like an amazing video, then you can focus on the other stuff, building it up instead. But yeah, that, I think people get distracted by the gear and trying to make a good video gear. Yeah.

• 1:16:06Speaker 05

  So, but I, so I think Adam had this really cool analogy. Do you guys know the show like Candid Camera, like the?

• 1:16:12David Imel?

  Yeah.

• 1:16:14Speaker 05

  You guys know the shows like Candid Camera? Yeah, like OG.

• 1:16:17David Imel?

  Really old.

• 1:16:18Speaker 05

  So. The candid camera was originally candid microphone. It was an audio show and it existed because mics got small enough where people couldn't see the microphone and that that technological innovation enabled that new format and that new creative format. Candid camera, same thing. Camera got small enough where people would be candid on camera. And so it actually changed the contents of the story. And, and so Adam was like, that's kind of how he thinks about jet lag.

• 1:16:49David Imel?

  You know, we've done other projects since where we did use like real cameras and like lighting setups and stuff. And I think it really opened our eyes to like, thank God we filmed the show the way we do because you could not make our show if we tried to film it a different way, frankly. The fact that you can make something on iPhones is an invitation for people to think, what can I make now with an iPhone that I couldn't have made before when iPhones weren't this good? And I think that if you can come up with a compelling answer to that question, you'll have a format, you'll have something that is new and interesting and that actually takes advantage of this as opposed to just making the same thing,

• 1:17:29David Imel?

  but lazier because you don't have to put in the work of setting up a better camera.

• 1:17:36Speaker 05

  You shoot on Red because your whole thing is MKB HD. And like, that's a part of your ethos and it amplifies a part of who you are. Every day we put like clothes on to like feel ourselves, right? And sometimes when we wear a certain jacket, it makes us feel like more powerful or better. And I think

• 1:17:56David Imel?

  you can translate that to cameras. Like sometimes when we hold a camera, it makes us feel like a professional. It gives us confidence. Does the camera bring joy? Like, does it, does it, is it gonna enrich your life? Is it gonna make you inspired to do the best work of your entire life? Famously, Mr. Beast does not shoot 4K, right? Is this still the case?

• 1:18:13David Imel?

  He shoots all Sony, all, I don't know if it's not 4K, but he does kind of just put any camera in your hands. And as long as he has coverage, that's the only thing I care about.

• 1:18:22David Imel?

  It used to at least be the case that he didn't shoot 4K because he wanted to give you that sort of home video kind of vibe.

• 1:18:30Speaker 05

  This actually happened.

• 1:18:31David Imel?

  Yeah. You want the camera to be above a floor where it's not like, it's not hindering your story or your video production.

• 1:18:37David Imel?

  480p.

• 1:18:38David Imel?

  And in Jimmy's case, it's funny, he also wants it to be below a certain ceiling so it's not distracting.

• 1:18:42David Imel?

  Exactly.

• 1:18:42Speaker 05

  Yeah. Yeah. So I think my big takeaway is that gear is a multiplier. All it does is it makes what's great about you greater. But if you don't know what that is, you can't multiply anything by zero.

• 1:18:56David Imel?

  Yes.

• 1:18:58Speaker 04

  Damn. That's a bar.

• 1:18:59David Imel?

  Bars.

• 1:19:00Speaker 04

  Bars.

• 1:19:02David Imel?

  Yes.

• 1:19:04Speaker 05

  So if you like this behind the scenes video, I'm sure you'll love all the behind the scenes videos and ensemble videos that we do on the studio channel all the time.

• 1:19:11Speaker 04

  And with that, I would like to say, I think the real best camera you can get is the friends we made along the way.

• 1:19:17Speaker 05

  So gentlemen, do you feel like you learned something?

• 1:19:21David Imel?

  I do. I, I love the multiplier. I think that's a great, like bow tie on it. Like gear is exciting and interesting to us because we're kind of nerds.

• 1:19:30Speaker 04

  Yeah.

• 1:19:30David Imel?

  And that's where we live. We're in the weeds and we love the gear and what it unlocks. But it only unlocks the, the multiple of the thing that you're trying to make. You gotta have the idea. Yeah, you gotta have the seed. If you're just watering dirt, it doesn't matter how, how great that watering can is, you need a great seed.

• 1:19:47Speaker 05

  So Rich, you come up with an analogy.

• 1:19:50Speaker 04

  Oh, no. Uh, it's like.

• 1:19:55Speaker 04

  The conclusion is the best camera is the camera in your pocket.

• 1:19:59David Imel?

  No, it's not. The best camera.

• 1:20:04Speaker 05

  That should be our.

• 1:20:06David Imel?

  No, I would say the best camera is the camera that does the thing that you want to do to tell your story.

• 1:20:12Speaker 04

  Yeah.

• 1:20:15David Imel?

  That the best camera.

• 1:20:18David Imel?

  It's the Raptor XL. It's clearly a V Raptor XL.

• 1:20:22Speaker 04

  That is the best.

• 1:20:38Speaker 04

  At Edward Jones, we believe Rich is more than caring about the latest and greatest. It's also taking care of what gives your life meaning. That's why your dedicated financial advisor meets you where you are with.

• 1:20:51Speaker 07

  Personalized financial strategies that help protect what matters, so you can preserve your progress while creating a path forward. The key to being rich is knowing what counts. Let's find your rich together. Edward Jones. Member SIPC.

• 1:21:08Speaker 07

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