[Danny Grizzle]

BTW – let me know how you like the Lightcraft Workshop Fader ND. I’ve bought several, and I really like them. I consider them standard equipment for my DSLR video cameras.

One thing about the Lightcraft Workshop Fader ND Mk II design — it pretty much precludes use of the lens manufacturer lens hood. I can see a lot of situations where it will be necessary to flag the lens, maybe even with a c-stand on time lapse. Otherwise, an assistant.

The matte box rig will be my primary camera in more challenging situations. Right now, I can’t rig it to anything other than my 5D Mk II.

My Chrosziel matte box cost a ton of money, and I’ve kept it in immaculate condition, with its own Pelican case. However, there was no practical way to convert it for DSLR use, so I bought a Redrock Micro matte box. Redrock calls theirs “microMatteBox” but there is nothing micro about it — the thing is huge and heavy. I’m not unhappy, especially considering it cost 1/3 what was paid for the Chrosziel, and it is a more flexible and versatile matte box, also, including a swing away design, which adds substantially to the bulk and weight.

My objectives with this matte box are a little different, also, so I am looking at new filters. Mainly ND. The Chrosziel was bought for SD, and I was using ProMists and such to soften hard edges a bit. Specifically for DSLR, Tiffen just announced two sets of 4″ x 5.65″, ND mainly. These are designed or endorsed by Shane Hurlbut. They run about $2k total, and include a giant circular polarizer which is a mystery how it would fit.

Formatt would definitely be less money. I’m tempted to order one from B&H just to check it out before committing to the whole line. Tiffen needs to get their act together on 5.65″ x 5.65″ ND grads, and also redo their entire website because it is impossible to locate specific filter products.

[Danny Grizzle]

What is your opinion of Formatt?

I bought a bunch of their polycarbonate (?) filters a few years ago for my last matte box, a Chrosziel. From the looks of their website, they are only making glass filters now.

Format filter quality was fine, but the thinner thickness made them sloppy in the filter holder, partly because they seemed just short of 4″ x 4″ also. The whole issue of keeping them pristine bothered me because the plastic slip cases they shipped in were shoddy, and I didn’t think the polycarbonate would withstand a conventional square filter pouch. So I bought a little Rubbermaid plastic tool box for them. This was just enough to put me off the brand, but perhaps I should reconsider.

The Formatt website is great, especially compared to Tiffen, which is a disaster. On the Formatt website just now, I was looking at 5.65″ x 5.65″ ND grads within seconds. Tiffen, you can’t find anything, even when they make it.

Maybe I should go with Formatt again. There is probably a case to be made to stay in one line on ND filtration. I know I bought some circular screw in ND recently, on the heavy end of ND, and Tiffen was less expensive and more neutral. The most expensive filter I bought was a B+W, which has a very pronounced color cast.

[Danny Grizzle]

I’m an audio perfectionist without the budget to buy the best, which in my opinion would be Sound Devices. So like many others shooting with DSLR, I use double system sound with a separate, dedicated audio recorder.

There are two issues, really: the recorder, and the microphones.

The threshold you are looking for in a dedicated audio recorder is XLR inputs for external microphones. The Zoom H4n is very popular among DSLR filmmakers because it delivers quality at a great price.

I have bought several Zoom recorders, and there were always design and quality problems. I had a Zoom H2 that failed a day or two after going out of warranty, though it was a backup and never used. And I owned the original Zoom H4, which was great, except for really cheesy materials and build quality. Thankfully, from all reports, Zoom has addressed these issues in the radically redesigned second generation H4n.

I’m through with Zoom, however. I am currently using a Tascam DR-100, which I love. It has great materials and build quality, and great sound. Also, it is well designed for field use, with manual function switches that, in the heat of production, I find world’s better than menu settings. Another feature I like is dual battery systems, with a Lithium Ion rechargable (via any USB power source) and two AA. This redundancy gives you long run times from the Li-ion, and a failover system to disposable AA alkalines (or NiMH) also.

The DR-100 is not perfect. The built-in omni mics, everyone says, are not much, though the built-in directional cardiods are said to be OK. I don’t know, because I always use my DR-100 with external mics. Some people don’t like the concentric level controls, but in general I really like the ergonomics of the DR-100 — you can operate it even with gloves. The DR-100 is not perfect, and if I were in charge of changes for a Mk II version, the first thing on my list would be an ability to switch the mic preamps out of XLR circuit for situations where someone would like to use an external mixer to supply line level inputs to the the DR-100 XLRs.

I also own a Tascam HD-P2 portable 2-track recorder. This is a good, almost great, recorder. The best thing about it is the very straightforward design. Anybody who has worked with audio can simply grab it and go, no need to read any manuals. When I get stressed and working under pressure, this is the recorder I reach for because it always brings home the bacon, and I never make mistakes. Downside is maybe materials and build quality, just slightly off Tascam’s past standards. Plastic, and I don’t know how this happened, but mine obviously got stored shut inside a Pelican case under humid conditions, and all the exposed screw heads are rusted. Still, the HD-P2 has my confidence, though I’m not sure I can recommend it any longer because it is an older model and likely to be discontinued soon.

===

Everybody working with DSLRs is so focused on the Zoom H4n, and discussion rarely goes beyond this recorder. But you specified “entry level to mid level” so I will discuss the next step in audio, something that a lot more interview shooters should consider.

Specifically, the Tascam DR-680, which is billed as an 8 channel recorder, though it is, as a practical matter, capable of 6 microphone inputs. In anything beyond run and gun shooting where I need the audio recorder and wireless mic receivers mounted on the camera rig, the DR-680 offers filmmakers a lot of bang for the buck. It costs about the same as a Canon Rebel class camera body, so this is to me something that every serious filmmaker needs to have on hand.

The DR-680 has 6 inputs. Each one is switchable between line or mic, and phantom power can be applied in pairs. It runs on 8 AA batteries or AC. Of the 6 inputs, 4 are XLR, and 2 are 1/4″ TRS. You can run these in any combination of sources because even the TRS inputs support XLR mics with the right cable, and supply phantom power. (Be careful to switch Phantom power off on any recorder while making connections, but particularly be careful and certain Phantom is off with TRS connectors because they short while inserting the 1/4″ plug.)

The DR-680 is really a jewel in that you can put a separate mic on several people and record each mic to a discrete channel and a discrete track (file). With 6 channels available, you can do things like redundant microphones and safety levels. You have extra channels for ambience, or situations where there is an audience and mics for question and answer sessions.

The downside of the DR-680 is the recorder is really not built to professional standards of similarly capable machines. It is plastic, not metal. There is a single multifunction control knob, and a set of buttons used to arm individual tracks or target a specific channel for level setting. Also, you need to read the manual and practice before getting under pressure in a production situation.

All in all, I love the DR-680. It has outstanding sound quality and capabilities at a phenomenal price of $795. Make that $875, because the Tascam carry case is optional. PortaBrace also make a case for the DR-680. I own a lot of PortaBrace audio cases, and only bought the Tascam factory case because PortaBrace did not have one out for the DR-680 at the time I purchased mine. Turns out I like the factory case just fine.

OK, this post is long enough. I should go on to microphones, but I’m out of time. I’ll just say I favor Rode and Sennheiser mics, Sanken, Tram, and Countryman lavaliers. Don’t buy cheap mics! You will never regret the purchase of a quality mic. Audio experts will dispute any of my choices on recorders — we are talking entry and mid level here — but don’t buy a mic you will have to apologize for. I’ve just named stuff I own, but if the money is there, there are others you should consider like the Schoeps CMIT 5U, but this is definitely a high end mic. What I’m saying is “entry to mid level” on recorders works is OK, but I would rule out entry level mics.

=======

BTW – some DSLR shooters may not be familiar with the Tascam brand name. Since this post already sounds like an ad, I’ll mention that Tascam is a division of Teac, a professional audio company with roots stretching back decades. Tascam stuff has always offered great, audiophile level performance. This brand really created the project studio market segment, long before computers made it possible even conceive of finishing films or broadcast video in a project studio setting.

As such, Tascam was not the cornerstone of professional recording studios. In major recording studios, there was a whole different range of cost-is-no-object brand names. This was a time when any audio facility with equipment under a half million was considered low budget, just as analog video suites costs started at about the same half million (except crummy 3/4″ Umatic, which could be done for less).

Anyway, Tascam gear is very equivalent in quality and tradition to Nikon and Canon. Remember, there was a time when 35mm still cameras were considered amateur, and no true professional photographer would use anything less than a medium format Mamiya or Hasselblad, or a large format view camera.

Tascam is a great brand that really deserves more recognition and use in the DSLR community. Zoom, in comparison, is an interesting upstart, something I’d put on the level of GoPro.

[Danny Grizzle]

A friend of mine told me that his wife bought a T3i with kit lens for $299 a couple of weeks ago.

Seems someone had ordered it online at a major national retailer website, then returned it to the local store. They don’t stock it, and didn’t know what to do with it, so they put it on the clearance returns shelf.

I shouldn’t have told that story here.

[Danny Grizzle]

For years – decades – my advice has been to pick out the lens system first, then buy whatever camera body hangs off the back of the glass.

I bought a Canon T3i. The articulating screen is far better for video than the older T2i you are considering. Otherwise, the two cameras are identical.

I also bought in a hurry, adding a body to my system. I wish I had researched more and spent a little extra for a Canon 60D because of ergonomics, operational similarity to my 5D Mk II, and better control of ISO and white balance. The T3i will get the job done, but white balance, in particular, is buried in the menus because this camera is marketed towards amateurs who are not so interested in manual control.

Autofocus on the Sony may be a big deal to you, but it is a non-issue for most pro applications. In particular, if you are going to DSLR for shallow depth of field, auto focus can be a joke.

Another factor in favor of the Canon is ecosystem. Sony and Panasonic DSLRs look great on paper, but reviews don’t often address the real world where you may need an obscure accessory. For instance, I just bought a 3rd party intervalometer for the T3i off Amazon for $35. Now, any given model of Sony or Panasonic may have that functionality built in, but when you look at the big picture, you are much more likely to be out of luck once you stray from Canon or Nikon.

Since you are planning to do talking heads, make sure you have reviewed your audio plans 3x more than you are sweating this camera decision. Hint: in camera audio is not great. An on camera mic is even worse.

At minimum, you should add a Rode Video Mic Pro to your kit, along with an extension cable to get the mic closer to your subject. A lavalier is also essential for interviews.

Audio is actually more important than video. That’s why radio stations work, but see how interesting your TV is with the sound muted during a movie.

No doubt the Sony A55 is a beautiful camera. I just checked out the review on dpreview.com. I’m not familiar with the system overall, but one final question I would ask myself is, “Can I rent lenses?” It is nice to have resources like lensrentals.com, especially considering you could augment your basic package not only with special glass, but also additional bodies if you ever find yourself in a situation where you need multiple cameras (interviews being one). BTW – I see that lensrentals.com is renting Sony… so maybe we’ve landed back exactly where we started.

[Danny Grizzle]

Sample rate conversion happens all the time. The 96kHz will convert nicely because it is exactly double 48 kHz. People also convert 44.1kHz to 48kHz constantly because 44.1 is the CD standard. Sample rate conversion is a hassle, but not a disaster. I wouldn’t think you will have problems with sync drift, especially on the 96kHz track.

I use BIAS Peak for conversions, but just about any audio editor should handle the task.

[Danny Grizzle]

Tall order on 18mm f/1.8 @ $600. Sigma makes a 20mm f/1.8 EX Aspherical for $630.

B&H lists a Bower 14mm f/2.8 for $420, and a similar Rokinon 14mm f/2.8 for $370. There is also a Vivitar Series 1 13mm f/2.8 for $420.

Read the reviews on the B&H website for the Bower. They’re enthusiastic.

I consider ND filters mandatory for DSLR video. None of the 14mm class lenses take filters, if that is important to you.

I use a Canon EF 16-35mm f/2.8 L (original version, not latest II) on my T3i. It is consistently set to 16mm when on the Steadicam Merlin. Even discontinued and used, it costs about twice your $600 budget. From what I’ve read, however, there is not much advantage with the latest II design when used on crop sensor cameras. I find the lens to be lightweight and especially suited to flying on the Merlin, and use it with a Light Craft Workshop 77mm Fader ND Mk II, which is available on Amazon.com.

I considered purchase of a Sigma 8-16mm f/4.5 – 5.6 DC HSM for $700, but so far I have been happy with the Canon 16-35. The Sigma does not have the speed you are looking for, and it also does not take filters other than rear gel, but it is an interesting lens.

If you are uncertain what to do, you might consider renting. LensRentals.com has several candidates. I’ve used their services several times — great company. Their website is worth reading, simply because they’re experienced with a lot of lenses and lens related issues. They have a “try and buy” program setup with a partner retailer, which looks like a good deal.

[Danny Grizzle]

Are you unhappy with the 18-55mm kit lens for cause, or because of what you read?

I just looked at the Tamron on Amazon, and the people who buy it seem to like it. In the price range you are talking about, it may be hard to beat. If it were me, I’d read a bunch of reviews – there are some great websites doing really thorough, well produced reviews.

On the other hand, forums and reviews are filled with guys like me who read too much and shoot too little. After all, you can do some very cool stuff with a Lens Baby, unless you over think it and kill them with analysis and comparison to Canon L lenses or Zeiss glass.

I’d say buy the Tamron plus the best tripod and head you can afford.

[Danny Grizzle]

My immediate reaction is that rolling shutter may be an issue for handheld work aboard ships, and particularly with smaller craft like lifeboats.

You should probably include Lock & Load in addition to Twixtor.

Since you are planning to shoot with a crop frame sensor Canon, you can save some money on a wide angle zoom with the Canon 16-35mm f/2.8L, purchased used. Canon has replaced this lens with a second generation “II” design, and the supply of the original version is good since a lot of owners are trading up. The Mk II version of the lens is clearly superior for full frame cameras, but the improvements are mainly manifest in the corners of full frame cameras. For crop sensor cameras, the discontinued original works great.

Weigh this against your own needs – you may find something like the EF-S 10-22mm or Sigma 8-16mm may be a better fit, although both of these lenses are significantly slower.

Finally, I think I would get my hands on Final Cut Pro X before spending a lot of money on Twixtor and Lock & Load, or at least investigate what kind up protections the publishers are giving. I’m holding back on a number of purchases right now until we see what the upgrade path is going to be. I’ve sunk too much money into dead end products such as the recently discontinued TC Electronic Powercore platform. Even the crossgrade path often stinks — for instance, TC has negotiated a special offer for Powercore owners to switch to the competing UAD system by Universal Audio. But UAD is Firewire-based, and in my opinion, Firewire is on its deathbed also.

Moral, if you have an immediate need that justifies the cost, go for it now. But be careful and plan your transition carefully, or chances are you will buy everything twice.

[Danny Grizzle]

I don’t see the excitement with the Sony and Panasonic products. They are nothing compared to the appeal of hybrid still/video DSLR cameras.

The problem is they are missing a huge piece of the puzzle: lenses. One major appeal of DSLR systems is the ability to get in with only the incremental cost of the camera body.

Canon still lenses may not have cine ergonomics, but they are readily available for purchase and rental, the line is extensive, and they are comparatively affordable. Once you stray away from Canon and Nikon, you are more isolated and on your own. Or venturing into the world of kludged lens adapters.

I’m not discounting these other camera systems, only saying there are extra considerations. What makes sense in major markets like Los Angeles, Chicago, and New York may not hold anywhere else because of missing infrastructure.

10 minutes on Google tells the story about the industry’s direction. You can bet all the excitement is not for sake of h.264. File compression is, in fact, the Achilles’s Heel of the HDSLR. The manufacturers would be crazy not to address this. I personally think USB3 won’t get it. HDMI might pass for the present. But Thunderbolt is the more futureproof solution because it could pipe 4K data and more. After all, this discussion could get into more than resolution and color depth, but also frame rates. There is no such thing as too much data in an acquisition format.

It makes too much sense for Canon to simply provide a RAW data spigot and let 3rd parties like AJA and Sound Devices sort out details of downsampling, file formats, and storage systems. It seems to me that Canon and Nikon could add this capability to their cameras at almost no additional cost, while maintaining their current internal h.264 capability to SDHC and Compact Flash. I don’t mind if they omit it from entry level EOS Rebel cameras. In fact, a RAW output bus would be a terrific way to differentiate their own cluttered product lines and justify purchase of the more upscale models.