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Good zoom lens for field work on C300
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[Erik Anschicks] “Duclos does not service or modify Russian lenses at all “
As suspected, not surprised by that. I think that once people discovered the great LOMO primes that Duclos was flooded with them, and since they fall into the vintage category a lot of them needed a fair bit of service and it was hard to predict just how much they would have to put into them.
[Erik Anschicks] “Combine that with the fact that these Canon lenses have a 1.5x crop factor on the Super 35 sensor…”
Not really… it’s not really a “crop factor,” it’s a bit apples and oranges there. People (especially those using the jumbo-sensor Canon DSLRs) seem obsessed with “full frame” sensors these days. They seem to forget that “full frame” means different things to different formats. A “full frame” of 35mm film when shooting stills is completely different than 35mm film when shooting cine footage. Why?… people seem to forget that a still camera shooting 35mm film shoots horizontally, a wide image down the strip of film… whereas a cine camera shoots vertically on that strip of film. So, the two “full frames” are different depending on the format. The C300 has a Super35mm sensor, and shoots exactly the same field of view as any S35mm cine camera. Put it side-by-side with a top-of-the-line Panavision Millennium XL2 and the fields-of-view for each focal length is exactly the same.
[Erik Anschicks] ” I was also told was the traditional NFL Films standard length on their end zone cams “
Are you talking about NFL Films today (which shoots electronic), or classic NFL Films from their film-shooting days (when the voice of John Facenda could make the most boring matchup sound like the game of the century)? When NFL Films was shooting real film, that was always 16mm, not 35mm… so the 16mm field of view is going to mean those telephoto lenses are even much much more telephoto than compared to 35mm, for a given focal length. I’m just wondering which shooting format the person who told you that was referring to.
[Erik Anschicks] ” shooting 60fps…long of a recording time do you have compared t”
The recording time is exactly the same. That’s because even though you’re switching from 1080 to 720, the bitrate for each remains at 50Mbps. That’s assuming, of course, you’re shooting at the highest bitrate (you can also shoot at 35Mbps, if you choose). You can do the math, but the easiest thing to do is just put an empty camera card in the camera and turn it on at whatever settings you want to shoot with. Within a couple of seconds the display will show you remaining shoot time.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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[Todd Terry] “Not really… it’s not really a “crop factor,” it’s a bit apples and oranges there. People (especially those using the jumbo-sensor Canon DSLRs) seem obsessed with “full frame” sensors these days. They seem to forget that “full frame” means different things to different formats. A “full frame” of 35mm film when shooting stills is completely different than 35mm film when shooting cine footage. Why?… people seem to forget that a still camera shooting 35mm film shoots horizontally, a wide image down the strip of film… whereas a cine camera shoots vertically on that strip of film. So, the two “full frames” are different depending on the format. The C300 has a Super35mm sensor, and shoots exactly the same field of view as any S35mm cine camera. Put it side-by-side with a top-of-the-line Panavision Millennium XL2 and the fields-of-view for each focal length is exactly the same.”
Please understand I’m not doubting you at all, but I have read conflicting info with that…for example https://c300user.co.uk/2012/02/canon-70-200mm-f2-8-is-lens/ or here is AbelCine’s comp chart comparing how the mm appears on a C300 vs a 5D: https://abelcine.com/fov/…Looks like you have to input the camera info on your own, I just chose to compare the C300/500 with a 5D. Of course I might not be understanding it all correctly as you’re much more familiar with the cam than I am!
As far as the NFL Films era, it wasn’t specified which era he was talking about. I know they did shoot on 16 so the optical range would be different, but I think that was just a “fun fact” rather than any kind of practical advice 🙂
[Todd Terry] ” The recording time is exactly the same. That’s because even though you’re switching from 1080 to 720, the bitrate for each remains at 50Mbps. That’s assuming, of course, you’re shooting at the highest bitrate (you can also shoot at 35Mbps, if you choose). You can do the math, but the easiest thing to do is just put an empty camera card in the camera and turn it on at whatever settings you want to shoot with. Within a couple of seconds the display will show you remaining shoot time.”
That’s what I had read/thought, thanks for confirming!
In fact, thanks for taking the time to respond in general Todd!
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[Erik Anschicks] ” I have read conflicting info with that…here is AbelCine’s comp chart comparing how the mm appears on a C300 vs a 5D”
Exactly… that’s what I was saying, people are comparing apples and oranges. You’ll hear so many people obsessed with “full frame” shooting like they get with the 5D, and for some reason that makes those that don’t know any better think that makes a Super35mm film frame (which is indeed smaller) inferior. It’s not… that 35mm frame is the same size frame that motion pictures have been shot at for more than a century now, and continue to do so. Again, that difference (when comparing it to the celluloid world) is because still cameras shot film horizontally and cine cameras shoot the strip vertically.
In practicality, what that means is it really just changes the field of view of a given lens at a particular focal length. You can consider the regular 35mm cine format the standard, and the other ones the oddballs. If you ask Roger Deakins, Tak Fujimoto or some other bigshot DP to frame you a 50mm shot, they are going to consider what that 50mm lens looks like on a 35mm-format camera… not the bigger sensor of a 5D, or the smaller sensor of a 2/3″ camera.
In the cine world for motion footage, that S35mm frame is the “norm” or the base standard. Whereas in the still photography world, that bigger frame like the 5D shoots is the standard.
T2
__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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