 Welcome to the Crimson Engine. My name is Rubidium. Today we are looking at probably the most expensive gear I have ever reviewed. These are their Hanser Inutek Celery Cinema Primes. If you're not aware, Cinema Primes are lenses built with a single focal length. These lenses are full frame. They have dual side marking. They of course have a ring for both focus and aperture. And these ones have the markings on both sides in feet. You can also get them in meters. You can also, yeah, they come in both PL and EF. The ones that I've been lent by Hanser Inutek are swappable. So they have a detachable ring on the base of the lens that with a little hex screwdriver you can take off and substitute for an EF mount so you can go between PL and EF really easily. They're built out of metal. They have a 250 degree focus throw. So on a Canon stills lens, you might have 10 or 20 degrees between the nearest focal distance and infinity. Whereas these lenses have 250 degrees to turn between infinity and the closest you can focus. Compare them with something like the Rokonon City Primes, which are largely made largely from plastic, which are a lot smaller. Sure, if you shoot with these occasionally, they'll probably serve you for a couple of years. These are constructed so that you can use them every day for decades. And they'll still have the same tolerances. They'll still have the same optical quality. They'll still have the same reliance. But they're all except the 18.5 the same weight. So if you were using these on a gimbal or a crane that's bounced or a stabilized head, you can swap between the 25 and the 85 and not have to rebalance your camera, which is I think pretty unique in city lenses. There are very fast 1.5 across the entire range. These are also full frame lenses. So you can buy them for your C200 or Ava 1 or Alexa Mini now and in five or 10 years time when the mainstream cinema cameras go full frame, much like the Alexa, high end Alexa's and Canon's have now, you'll still be able to use the same set of lenses. Unlike a lot of the lenses out there, like the Rokonon's, the Zines, the CP3's, they're not rehoused stills glass. They are custom made from scratch cinema lenses. And you get the unique sort of feel that that brings. So a lot of people are probably looking at these two lenses. This one costs $500. This one costs $5,000. And wondering what do I get from my extra $4,500? What is it that a high end professional cinema prime brings to my filmmaking that I can't get in other places? Like why should I put my resources into cinema lenses or beautiful cinema lenses, either buying or renting them, rather than shooting for another day or another week or getting a better camera, a better monitor, that sort of thing. And that's also a question that I've struggled with over my filmmaking. I always have gone through different stages of really loving lenses and thinking that that's the one place you can make a real difference. Or thinking that a lot of what lenses do can be done in post. You can increase the sharpness. You can change the colors in something like DaVinci Resolve. So you know, what exactly, what exact value do they add? Some of it subtle. Some of it not so subtle. They definitely change the way that the camera sees color. Each lens or each element of the lens is coated with different materials, different chemicals. They shape and change the light as it passes through. It affects things like color. It affects things like dimensionality, meaning how 3D or 2D, how wide or flat an image looks. And yes, it is pretty subtle. And some of it is pretty much invisible on a compressed YouTube video. But you know, you see it or feel it a lot more on the big screen if you're working for a cinema production. Some types of lenses are really consistent amongst all the sets of those lenses, other lenses, especially vintage lenses have a character all of their own. You see in the Celery 50mm, it has this sort of swirl in the bokeh that's quite distinctive, gives it a really interesting look. Lenses flare differently when lights shot right through them. They give different colors, different shapes. It's very, it can be very distinctive or it can be subtle. But when it comes down to it, the real advantage of cinema lenses like these is that they give your film a unified distinctive look. They will sort of bake in a very high end cinematic aesthetic into everything that you shoot for not that much money. Like considering that, you know, a set like these probably rent for five or $600 a week. So you're shooting a feature over three weeks, that's $1,500. If you were to employ a colorist to go through and add that same kind of sharpness, that same kind of subtle color tones, that same kind of flare to all of your footage, you're looking at $1,000, $1,500 a day for that colorist's time in a high end color suite with a balanced monitor and all the tools. So you can see that as expensive as these are to own, the reason that a lot of people buy them and then or rent them for their productions is that they do add a lot of value very economically to the movie or to the film or to the production that you're shooting. I've shot with these for a little while now. I've only had them for about a week, but they do seem to add that extra layer of glow, that extra layer of production to whenever I put them on the camera. It's really noticeable when you see it full screen on a 30-inch monitor. It's much less noticeable when you're looking through, but once you actually go back and review the footage, there's just a certain polish on things that you don't get with, say, my go-to Canon 50mm 1.4. They don't have autofocus, of course. They have to be focused manually, and I think that's why they're probably more suitable to bigger-sized productions that can afford focus pullers. They're not quite your run-and-gun set of lenses, but no one's running and gunning with $20,000 worth of glass. For the money that it costs to rent these, nothing comes close in economically adding a polish to your production and an extra level to your filmmaking. That's my look at the Hanzo Inatec Celery set of lenses, the 1.5 primes. You can get them from B&H. I got these ones were courtesy of Max Digital here in California. You can rent them. Well worth taking the time to learn about what cinematic lenses do and how they can just really take your filmmaking to the next level. Thanks very much for watching, guys. Leave your questions in the comments. I will see you next time.