The early stuff in the video is mostly used to describe color correction instead of total grading. Overall this video is more about what you can do in Davinci than strictly what you can do with Raw. I'd hold up some of my $450 dollar glass against some $2500 Canon L series glass ANY day and I think I'd come out ahead. I'm assuming this is because they don't waste any money on autofocus or anything fancy.instead sticking to basic ultrasharp glass with a great focus ring for smooth racking. Best of all they are usually very inexpensive. They are usually extremely sharp and with huge fast aperatures. All of those lenses are the same manufacturer as far as I know. As far as other lenses go, I tend to stick to manual lenses and I'm a big fan of the Rokinon/Bower/Samyang etc series. HIGHLY recomended.though I hear Tokina has a newer version either already out or coming out soon.you might want to look for that. It really compensates for the "zoomed in" shakiness as you might expect.and the lens itself is amazingly sharp and I love the color it produces. Shooting crop mode with the Tokina 11-16 is wonderful. I've also noticed that like an idiot I say "mlr" format instead of "mlv". This shot was from a raw module WAY back in August 2013 when the whole raw thing for 7D was pretty new. If you look closely at the nature shot that has the single tree branches in the foreground.around 30 seconds in.you can clearly see some pink fringing around the highlights on the branches. Only the horse footage and a little of the beach footage was used with the VAF Mosaic filter. Most of it was shot on a 35mm Rokinon lens or the Tokina 11-16 if I was using crop mode.which in these examples weren't very often. Its hard to remember the exact lenses/settings used every time. A lot of this video is from scattered short films/music videos in Maine.
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