As we step into the new year, the film industry is beginning to stir once more and emerge from the shadows of recent strikes! We recognize that as the months unfold, the journey back to set is proving to be more challenging than anticipated, so in light of this, we’re thrilled to unveil a series of promotions and resources designed to equip filmmakers with top-tier gear without overstretching their budgets.

Designed to rekindle the creative spark within the filmmaking community, we are now providing both newcomers and seasoned professionals with an extraordinary opportunity to kickstart their projects through unbeatable offers.

Back to Production Promotion

As an initiative to help be the catalyst of your creative process and the return to full-scale productions, Stray Angel Films is thrilled to announce our ‘Back to Production’ promotion! Offering two tailored opportunities for either new or our existing clients, we are here to help you with great gear for all budgets to get your project off the ground!

Cameras Options In Promotion: ARRI (MINI – LF – Alexa 35), RED (KOMODO, VRAPTOR), SONY (FX9), BLACKMAGIC (URSA PRO)

For any first time rental clients of Stray Angel Films, we want to make sure you’re setup with the best, without the high costs.

On you first order with us, we’re offering 25% off youre first rental! Simply type FTCSAF, and our rental agents will handle the rest!

For any existing clients of Stray Angel Films; we’re offering a tiered package for FREE lighting on your next order!

Simply pick one of your favorite cinema cameras and lens setup, and we’ll throw on some of our top lights in house! Just type in SAFCINEMALIGHTS at the bottom of your next quote, and our rental agents will handle the rest!

These promotions can not be combined**

Next in the line, a collaboration designed to bring you closer to the finest filmmaking gear, we bridge an exciting partnership between SAF and our elite network of legendary lens suppliers! All SAF clients now have the opportunity to get exclusive access to premium equipment, at unbeatable rates. Whether it’s for a short film or a full-length feature, our Top Shelf lens collection is here to ensure you have the right tools in your hands without breaking the budget.

Please note: for extremely rare lens sets, inventory is limited and orders must be booked at least 48-72 hours in advance.

Calling all Assistant Cameras!

Last but not least, in efforts to unite creatives across all departments, Stray Angel Films is now offering free storage for AC carts. We understand the hassle and expense of transporting, and storing essential equipment. Now, keep your Assistant Camera carts safe and sound in our facility, ready for your next shoot day, completely free of charge. If this is in your ballpark, send an email to rentals@strayangel.com, and our rental agents will take it from there!

For more day to day, and weekly updates on promotions, new gear, and production opportunities at Stray Angel Films, stay tuned on our social pages below!

Additional Stray Resources

Alexa 35 Resources

BoxedUp Partnership

The post Ways to Save on Cinema Gear at Stray Angel in 2024 appeared first on Stray Angel Films.

Seamlessly blending tradition with innovation, this camera (still fresh in the market), is swiftly redefining the benchmarks of filmmaking with digital cameras. Diving deep into key new features, new color science, and post workflows that the new Alexa 35 offers.

A ‘Digital Film’ Breakthrough

Among the many standout features ARRI has incorporated in cinema cameras- the ‘ARRI Look’ has always been one of the biggest draws filmmakers have to their cameras. Diving into across some of ARRI’s own test shoots they have produced on the ‘ARRI Encounter’s Series‘; they certainly seem to have honed in the aesthetic even further.

Specifically to the new Alexa 35, they decided to further embrace the 35mm film look, and designed a rather striking feature of built-in ‘digital film stocks’. This unique ability allows filmmakers to shape the visual aesthetics of their footage, offering unprecedented control over the look and feel of the final product. These digital film stocks enable operators to change how the camera essentially perceives the world, adding depth and character to the footage with variations in grain texture and contrast levels.

Designed for Modularity and Versatility

When it comes to design, it was clear that the name of the game for the Alexa 35 was compact and versatile. As one of the smallest fully-featured ARRI production cameras ever built, it offers ease of transport and rigging, making it a practical choice for a wide variety of shooting conditions, harsh or controlled. Now, while ARRI’s focus was on creating a camera that best adapts to filmmakers needs, the additional support from gear vendors like Creative Solutions was also very apparent. Developing accessories like the Alexa 35 WoodenCamera system to enhance the camera’s usability and modularity even further.

Grading and Post Production

And remember, customization stands at the core of the Alexa 35’s design philosophy, to which is very much carried over into the post workflow. With a vast selection of 20+ ARRIRAW and Apple ProRes recording formats, the camera provides filmmakers with the flexibility to optimize data rate, resolution, and other parameters to suit their specific needs. This level of customization ensures that nearly any setting can be precisely tuned to the creator’s vision, and streamline their process in the post room.

No Limit On Possibilities

Ultimately, the new Alexa 35 is an accumulation of innovative features, compact design, and unparalleled customization options that make it a powerful tool in the hands of filmmakers. A testament to ARRI’s unwavering commitment to pushing the boundaries of what’s possible in cinematic storytelling.

For those eager to harness the full prowess of this cinematic powerhouse, we invite you down to Stray Angel Films to build your Alexa 35 package to rent for your next production!

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The vibe was electric, the music soul-stirring, and the roof was definitely raised with performances from guests like GasLampKiller, Jeremy Sole, and many others who stood in support of the industry during the strikes. But what made this event truly unforgettable wasn’t just the lineup of fantastic musicians or the ambiance—it was the groundbreaking technology we employed to capture it all: the RED V-Raptor 8k.

Unveiling the Finer Details

Low light is often a photographer’s Achilles’ heel. At previous events, capturing the intricate lighting, the expressions on the musicians’ faces, and the audience’s fervor was always a challenge. However, with the RED V-Raptor, renowned for its high-speed 8K sensor, our perception of ‘capturing dark moments’ changed. This cinematic powerhouse allowed us to unveil the unseen; details that were otherwise lost in the shadows came alive.

Technical Brilliance

The camera’s remarkable 35.4-megapixel sensor delivered a level of detail that’s rarely seen in cinema cameras under low light. Particularly given the V-Raptor’s impressive 16+ stops of dynamic range, we no longer had to choose between preserving highlights or shadows. Even at ISO 1600, this camera absorbed the available light, producing near-noiseless images (images used are without any additional noise reduction from DaVinci Resolve).

Real-world Performance

Words and technical specs can only convey so much. To illustrate the conditions this camera tackled: the main stage was only backlit by 4 Astera Tubes (2 Hyperions + 2 Titan Tubes), and the side soundstage had 18 Titan Tubes hanging from the ceiling. As the artists performed, we captured dramatic silhouettes while retaining exceptional detail and a vibrant array of colors—elements that might have been muted or completely missed with other cameras. With the V-Raptor, each moment’s vivid color and sharpness felt almost surreal.

A New Standard in Low Light Event Coverage

The RED V-Raptor has undoubtedly raised the bar in low light cinematography, marking itself as an essential tool for capturing events and festivals. Through its lens, we seized an experience where the RED V-Raptor has transformed our perspective on low light event coverage. The night may cloak the world in darkness, but with the right tools, it becomes a canvas waiting to be adorned with art.

This entire event was shot exclusively on the RED V-Raptor camera. All opinions and experiences shared here are based on our time documenting the event. If you’re looking to capture an event and need the camera to take on the night, email rentals@strayangel.com to put in a quote for the RED V-Raptor!

The post StrayLA Industry Relief Event | Shot on RED V-Raptor appeared first on Stray Angel Films.

For a limited time, we’re making an offer that will undoubtedly set off creative explosions: the chance to rent our top-of-the-range equipment for a week at the cost of just ONE day’s rental!

That’s right – starting this week, you can get your hands on our wide range of premium cameras, lenses, lighting equipment, and more, for seven days of uninterrupted use, while only paying for a single day. This deal offers creatives colossal savings, allowing you to channel more of your budget into other crucial areas of your film project.

Whether you’re shooting a suspenseful drama, an action-packed blockbuster, or a poignant documentary, our Oppenheimer Deal provides you with the means to realize your most ambitious visions without having to worry about high equipment costs.

With Stray Angel Films, we are more than just a production rental house; we’re a partner in your journey of storytelling, and we can’t wait to see the amazing projects you’ll create with the help of our Oppenheimer Deals! Shoot us an email at rentals@strayangel.com with your rental dates and we’ll make this Summer Deal happen for your production.

Here’s to a week up to a whopping six months of creative explosions and cinematic breakthroughs!

The post Summer Deals Dropping at Stray Angel appeared first on Stray Angel Films.

This is where the true power of Phantoms shines- Cameras like the Phantom 990s can record up to 1000fps while maintaining full 4k resolution. Additionally when you factor in the extremely versatile camera body, it becomes a breeze rigging the camera in unconventional locations. Hence why blockbuster movies like Kingsmen, Lone Survivor, and Guardians of the Galaxy vol. 1 trusted Phantom cameras to capture their high frame rate shots.

Now companies have consistently been successful with packing stronger and more impressive sensors that can shoot high frame rates into their cameras, but even the best have yet to come close to Phantom’s power. For perspective, majority of cinema cameras can only handle 120fps to 300fps, and even then, cinematographers face a significant drop in resolution.

In a time where pushing visual boundaries has become a standard model of thinking for cinematographers; Phantom cameras offer filmmakers new possibilities for shooting their productions, and expand the sandbox of possibilities rather than limiting it. Email rentals@strayangel.com to expand your cinema toolkit with the Phantom 990s today!

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Written and directed by Oscar-winner Sam Mendes, this Story of a Messenger is inspired by the tale woven in his grandfather Alfred’s autobiography on the Battle of Poelcappelle. Mendes takes some creative liberties but holds true to the spirit of the day in telling his own story with 1917, the incredible film leading the way with Ten Oscar nominations, including: Best Picture, Writing (Original Screenplay), and Cinematography.

Mendes partnered with another Oscar-winner in cinematographer Roger Deakins to capture 1917 in the “One Shot” style, mirroring the work famously done by Hitchcock’s Rope in 1948, and more recently in 2014 with Alejandro Iñárritu’s Birdman. In doing so, Mendes and Deakins made life difficult for the production team, but they also knew going into it that the upside far outweighed the risks all the same. Proof positive, the final result is a breathtaking thing to witness high up on the silver screen, the accolades more than warranted for their efforts.

To make life just a little easier for the camera operators that had to weave in and out of battlefield lockstep with the lead characters, Deakins turned to ARRI and their Alexa large-format series to make the magic happen. As luck would have it, the company was able to fast track their new Mini LF, arriving just in time for the production, and that makes 1917 the first to feature the company’s latest exciting camera.

In an interview with ARRI, Deakins states:

I like cameras to be small and intimate. I like shooting with a small crew. I don’t want the technology and the presence of the film crew to overwhelm the scene.

Coupled with Arri’s Signature Prime lens series, the Mini LF brings with it a layer of unrivaled versatility that worked in perfect harmony down in the trenches, and that makes the combination battle-tested for virtually any project on the move.

For more information on how to rent the ARRI Alexa Mini LF or the full lineup of ARRI Signature Prime lenses, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

ARRI Interviews Roger Deakins:

The post 1917’s Roger Deakins & ARRI’s Alexa Mini LF Make Magic appeared first on Stray Angel Films.

The Pocket Cinema Camera 4K features a 4/3″ sensor for capturing up to 4096 x 2160 DCI 4K images at rates up to 60 fps in a variety of codecs including Blackmagic Raw at several bit rates and various ProRes 422 options. Slow-motion rates up to 120 fps are available in cropped Full HD. Its Micro Four Thirds lens mount accommodates the original, lightweight Pocket Cinema Camera lenses, and can be used with PL, C, EF, and other lenses with the use of separately available adapters. A dual-native ISO up to 25,600 is featured for low-light capture, and 13 stops of dynamic range provide rich HDR images.

Full Features:

• Full-size 4/3-sized sensor with native 4096 x 2160 resolution-sized sensor.
• Compatible with extremely high-quality micro four-thirds lenses.
• Super-wide 13 stops of dynamic range allow capture for a high-end feature film look.
• Up to 25600 ISO for incredible low-light performance.
• Carbon fiber polycarbonate composite body, which makes it lightweight, portable, and durable.
• Multi-function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more.
• Built-in SD, UHS-II, and CFast card recorders.
• USB-C expansion port allows longer duration recording directly to an external SSD or flash disk.
• Standard open file formats are compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW.
• Features full-size HDMI output for monitoring with camera status graphic overlay.
• Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones.
• 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection.
• Built-in 5” LCD touchscreen allows accurate focus when shooting 4K.
• LCD supports on-screen overlays, including status, histogram, focus peaking, and transport controls.
• Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second.
• 3D LUTs can be applied for both monitoring and recording.
• Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
• 4th-generation Blackmagic color science.
• Supports remote camera control via Bluetooth.
• Includes full license for DaVinci Resolve Studio editing, color, visual effects, and audio post-production.

For more information on how to rent the Blackmagic Design Pocket Cinema Camera, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

DSLR Video Shooter covers the Blackmagic Pocket Camera:

The post Introducing: Blackmagic Design Pocket Cinema Camera 4K appeared first on Stray Angel Films.

The Rialto is a lightweight and easy to use tethered extension system for the Sony VENICE that allows the camera body to detach from the image sensor block with no degradation in image quality.  The Rialto is compatible with both existing and new VENICE cameras. Users can quickly configure and freely use VENICE’s image sensor block to capture uncompromising imagery, customizing the camera for specific scenarios in under 3 minutes via a single 3mm Allen Wrench.

The image sensor block weighs 4 lbs with PL mount and 3 lbs using the native E-mount, and the cable system can extend from 9 or 18 feet, offering a highly configurable, flexible and portable method of operation.  The Rialto enables to VENICE to be suitable for many mounting configurations and filming scenarios, including use with gimbals, handheld stabilizers, underwater & helicopter housings, 3D/VR rigs, and tight or unconventional spaces (such as inside vehicles, on cranes or Russian arms).  In fact, the tether extension system was requested by James Cameron and Lightstorm producer Jon Landau for use on the current Avatar production with their 3D rigs.

For more information on how to rent the Sony VENICE, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

And check out the photos below in case you missed this awesome event!

The post Introducing the Sony VENICE Rialto Tethered Extension System appeared first on Stray Angel Films.

The FS7 II Has an Electronic Vari ND Filter

Sony first introduced the electronic Vari ND Filter technology on their X180 and X160 cameras in 2015, but the feature received more attention when it was implemented in the Sony FS5.  Besides the added convenience, it also made the step-less adjustment of ND filters possible. Users report they find this feature handy and adds to the ergonomics of the camera.

The new filter is an LCD layer placed between the sensor and the lens-mount. The strength of the filter can be assigned to presets or dialed in via the “Variable” wheel on the side of the camera. This allows you to keep the same aesthetics while changing the amount of light that hits the sensor during a scene.

E-Mount Lever Lock

E-Mount is a great lens mount. The sensor distance makes it possible to use a variety of third-party lenses via adapters, and it is so popular that almost all lens manufacturers produce specifically for this kind of mount by now. What is not so great about it, however, is that it was made for stills photography lenses, and thus lacks stability and a rotation-less locking mechanism. Sony addressed both issues with the new E-Mount Lever Lock.

The innovation of the E-Mount Lever Lock mechanism makes it very similar to the PL mount system used in cinema productions: instead of turning the lens you now turn the collar. This helps lock lenses more tightly and is ideal for large camera setups such as when you have a matte box and follow focus setup, as you don’t need to twist the lens.

This mount is ideal for cinema, large lens setups, or when the camera is on a tripod. For everyone else — and I assume this will be 90% of FS7 II handheld users — this new mount will probably be a huge problem. It’s nice that we don’t have to twist the lens, but twisting the lens mount and pressing the lock release while holding the lens is an almost impossible task to perform for any single-operator shooter.

Enhanced Ergonomics

The number of assign buttons has been increased from six to ten, all extra-large, while the LCD monitor arm and mic holder can be swapped for left-eye shooting. The telescoping arm offers even more settings, allowing the camcorder to be mounted closer to your body and you no longer need a tool for adjustments.  The XQD cards now stick out 4.3mm more on the FS7 II meaning you can grab them more easily.

In conclusion, the biggest differences between the FS7 and the FS7 II are the addition of the E-Mount Lever Lock and the Electronic Vari ND filter.

Otherwise, these cameras are virtually the same internally.

For more information on how to rent the FS7 or the FS7 II for your next project, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

Sony introduces the new FS7 II Cinema Camera:

The post The FS7 VS. The FS7 II: What’s The Difference? appeared first on Stray Angel Films.

Built around a large-format 4.5K version of the original ALEXA sensor, the ARRI ALEXA LF camera offers native 4K recording in three sensor modes, with ARRIRAW or ProRes recording in LF Open Gate, LF 16:9, or LF 2.39:1 modes. The ALEXA LF combines large-format resolution with an optimal pixel size for excellent image quality, producing vivid, nuanced images with natural skin tones and smooth bokeh. The ALEXA LF is designed with ARRI’s LPL lens mount that has been optimized for large-format capture and is compatible with all PL-mount lenses with the use of a PL-to-LPL adapter. A wider diameter, and shorter flange focal depth than the original ARRI PL mount, enable LPL-mount lenses to be smaller and lighter than earlier large-format optics.

The ALEXA LF offers an array of recording format choices in ARRIRAW and ProRes, recording to 1 or 2TB SXR capture drives, or SxS PRO+ 256GB cards. With a base sensitivity of EI 800, 16-bit processing, and a dynamic range of 14-plus stops, your footage is effectively future-proofed for compatibility with HDR displays. Frame rates up to 150 fps produce smooth slow motion and enable capture for higher-clarity HFR (High Frame Rate) projects.

The wireless connectivity of the ALEXA SXT W is built into the ALEXA LF, providing Wi-Fi and compatibility with ARRI ECS lens/camera control systems. One WVR-1 receiver is included in this basic kit, offering wireless video transmission in a range of up to 2000′.  The internal filter holder can be used to insert one of eight Large Format Full Spectrum Neutral Density (LF FSND) filters (available separately). Additional ALEXA LF features include compatibility with existing ARRI Look files and workflow, clip playback in both ARRIRAW or ProRes, and 2-channel, 5-pin XLR audio input. This basic ALEXA LF set also includes SXR and SxS media adapters, the EVF-1 electronic viewfinder with a VMB-3 mounting bracket and cable, the CCH-1 center carrying handle, and an SD card for storing/loading LUTs, SUPs, etc.

Product Highlights:

• Large Format 4448 x 3096 Sensor
• Native 4.5K Recording in ARRIRAW & ProRes
• Large-Format Optimized LPL Lens Mount
• Open Gate, 16:9 & 2.39:1 Anamorphic Mode
• Native 800 ASA, 14+ Stops Dynamic Range
• Array of ARRIRAW & ProRes Capture Modes
• Same Wireless Features as ALEXA SXT W
• Includes WVR-1 Wireless Video Receiver
• Works with Existing ALEXA Components
• Internal ND Filter Holder

If you would like to use the Alexa LF for your next project, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

ARRI’s ALEXA LF with Signature Primes:

The post Now Renting: ARRI Alexa LF 4.5K Camera appeared first on Stray Angel Films.

Interchangeable Lens Mount and Lever Lock

The highlight of this camera for many will be the ability to accept your existing PL lenses on an E-Mount camera. Sony designed VENICE to easily attach a PL Mount on top of the native E-Mount with connection points via 6 screws. VENICE comes with the specialized adapter PL mount.

The E-Mount features a lever lock so you can change lenses by rotating the locking collar, rather than the lens itself. That means that your lens support won’t need to be removed so you can save valuable time on set.

Overhauled Color Science and VENICE’S Look

Sony revamped its color science when creating VENICE. The camera features S-Log3 gamma curve and offers both Auto White Balance (AWB) and White Balance 2000~15,000 Kelvin with Green/Magenta adjust possible. It also exceeds BT.2020 color space. Sony states that this means the color range is wider than DCI-P3 to produce true color and reflect accurately what you see.

VENICE performs well in bright sun ranging down to incredibly low light. VENICE produces soft imagery without the sometimes harsh quality many digital cameras realize. The image processing in the VENICE CineAlta produces deep darks yet retains highlights and colors.

Creative Freedom

Sony states that in Full Frame, you can use the full 6048-pixel width of the sensor for widescreen spherical 2.39: 1 or Large Format Scope. Full-Frame can be used creatively in a number of ways, such as allowing for extra shallow depth of field or super-wide shots.

VENICE also supports Anamorphic shooting and production with Super35 full height 2x squeeze Anamorphic.

Built-In Filters

VENICE streamlines your workflow by providing the first film industry 8-step servo-controlled Mechanical ND filter system. The 8-stage glass internal filters include a dual turret format (each circular turret holds 3 high-quality optical filters). The full list includes: ND0.3, ND.6, ND.9, ND1.2, ND1.5, ND1.8, ND2.1, ND2.4 in 1-stop increments (1/2 – 1/256). You can either dial in the filter selection directly on the camera or via remote control, with appropriate accessories.

This new workflow with filters on-board will help those using VENICE CineAlta on a gimbal, aerial device, or underwater housing when you can’t swap filters quickly.

Sony VENICE Features/Specs:

• New Full-Frame 36 x 24mm CMOS Sensor
• 15+ stops Dynamic Range
• 6K Full-Frame 3:2 mode (6048 x 4032)
• 4K Anamorphic 4:3 and 6:5 (4096 x 3432)
• 4K Super 35 mode (window)
• Support for FF & S35 spherical lenses
• Support for FF & S35 Anamorphic lenses
• 8-step Mechanical Built-in ND filter (8 Stops ND)
• PL mount (Cooke i technology supported)

Recording Codecs/Formats:

• X-OCN Compressed Raw onto AXS-R7 Raw Recorder
• 4K XAVC – Class480/300
• ProRes HQ/422/LT
• MPEG HD

For more information on how to rent the Sony VENICE Cinema Camera, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

Shot with the VENICE: La Serenissima:

The post The VENICE: Sony’s New Full-Frame 6K CineAlta Camera appeared first on Stray Angel Films.

One of the more exciting aspects of the C200 is the inclusion of internal 4K Raw recording onto a single CFast 2.0 card in a brand new format called Cinema Raw Light.  The Canon C200 gives users an easy to work with compressed RAW format, a feature that at this point has only been done by Blackmagic and RED.

If you were hoping for an internal codec option of 10bit 4:2:2, you might be disappointed.  Internal codec options include only an 8bit 4:2:0 option in MP4 for non-raw recording.  It doesn’t look like the C200 will get a 10 bit 4:2:2 internal codec anytime soon, as the promised firmware update coming in 2018 will be XF-AVC YCbCr 4:2:0 8bit, recorded to SD cards, not the CFast card.

One of the most impressive features of the C200 is the autofocus capability, which blew reviewers’ minds when they tried it on a 200mm lens at f/4 shooting at a model walking towards the camera. The C200 kept the focus locked on the moving subject exceptionally well.

Canon EOS C200 Features/Specs:

• 4K DCI Cinema RAW Light
  • 4K/60p – 10 bit onto CFast 2.0
  • 4K/30p – 12 bit onto CFast 2.0
• Internal Compressed Codec options:
  • Full HD 120fps Continuous with no sensor crop
  • 4K/60p Long GOP 8bit 4:2:0 at 150 Mbps in MP4
  • 4K/24/25/30p Long GOP 8bit 4:2:0 at 100 Mbps
  • 2K/HD at 35 Mbps 8bit 4:2:0 in MP4
  • Recorded onto SD cards
• Up to 15-stops dynamic range (Cinema RAW Light)
• Canon LOG 3
• Dual Pixel CMOS AF with touch control and extensive shooting functions
• Easy operation and flexible configuration
• HDMI 2.o Out – 3840 x 2160 out
• SDI Out – 1080/60p out to external recorders
• Dual DIGIC DV 6 Processors
• Rotating 4″ LCD Monitor, Camera Grip
• Integrated EVF, 2 x XLR Audio Inputs
• 1 x CFast Card, 2 x SD Card Slots

For more information on how to rent the Canon EOS C200 Cinema Camera, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

Watch our Canon comparison collaboration with Owl Bot:

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