Jared Cicon
Forum Replies Created
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Hey Michael, Thanks for the input. Yeah, sometimes we are in tight shooting situations that requires us to change focal lengths, but not necessarily in the same shot. As long as I have a set of lenses that cover the entire focal length spectrum, that I can switch out depending on my need I will feel good about going into any situation with the 5D. Does this make sense? There are also the external focus adapters on some of the shoulder rigs that you can use (or an assistant director can work while I shoot) to focus through a zoom action. Though not a perfect science, I have had to do the procedure on a video camera set to manual focus and can do it if I don’t mind taking a particular scene a few extra times and then stopping to check the footage.
I am getting a lot of input from everyone and am very grateful for it.
Jared
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@ Robbie: Thanks for the information Robbie. Yes, the application for the 5D will be total commercial video production. I got out of Weddings four years ago. So in a zooming in-or-out situation I assume the 70mm-200mm will stay at 2.8 (or whatever aperture I pre-set) keeping me from having any exposure problem. Am I right to assume this? If this question seems a little sophemoric, you’ll have to excuse me. I have been absorbing so many specs for so many different pieces of equipment my head is spinning.
I have read up on the 7D capabilities but something tells me that down the road I will crave the full sensor format and regret not getting it, and sense I will never be using this camera for anything but video production, I think the 5D just makes the most sense. You, of course though, brought up some very important points.
Jared
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Hi Uli,
Not sure if you understand my situation. I must have telefocal ranges that exceed 105mm. There is no option. The application for the 5D is television commercial and short film production. What exactly do you mean when suggesting I shouldn’t use zoom lenses over 105mm.
Jared -
Hi Michael,
Thanks for taking the time to offer your opinion. I surely understand where you are coming from. As a wedding photographer shooting medium format still photography for almost 2 decades I spent between $1,000-$2,500 apiece for several fixed focal length lenses. And this was in the early nineties mind you. So I do understand the importance of glass. What would your suggestions be knowing I need to cover the full telephoto range, since on set, I don’t always have the luxury of moving the tripod. For the last several hours I have been researching and it was suggested I look into the EF 24mm-70mm 2.8 and the EF 70mm-200mm 2.8. Would you concur with this?Do you have any specific recommendations regarding lenses for the commercial photography director?
Regarding a shoulder mount, could you tell me what you think about the HandySLR
https://www.youtube.com/user/5DFilmSchool#p/u/8/fDiVaV1wTDw ?Thanks again for your time.
Jared -
Hi Richard,
Just want to let you know I am also at a crossroads and mulling over a 5D purchase. Your succinct and frank overview has pushed me one step further towards my decision to go DSLR. I am always amazed at the availability of such useful knowledge here at Creative cow.I have a few questions I hope you can help me with. For image stabalization purposes I have been looking at the gear from Red Rock (Link: https://redrockmicro.com/redrock_dslr.html ). I am very disheartened by the cost. Would you have an opinion on what are the most important pieces of support equipment that I will need and the cheapest way to go. I am a commercial director and don’t want to learn the hard way (on a job) that i really needed something I failed to purchase. I am on a freelance budget so I hope you can provide some options that don’t cost 3-4 thousand dollars.
My tentative plans are to buy the 24-200 EF zoom at the time of purchasing the camera, the EF 100-400, and I already own the EF 14mm. Is there a barlow lens that I can get to double the telephoto value?
Thanks in advance for your help. Looking forward to your answers.
Jared
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Hey Grinner,
Thanks for chiming in. In addition to Phil and few others here at CC, you have definitely eased my mind. I will be ready with MiniDV masters here from my office, and then will send out the MiniDVs to a dupe house for anyone who prefer a Beta master. Further still I will FTP them any codec they desire out of Compressor if that’s to their liking. Thanks again for your help.
Jared -
Hey Mark,
Thank you for your thorough, detailed and obviously very comprehensive response. I posted this thread here and in an FCP forum and am overwhelmed with how knowledgeable all of you guys are in these matters. I will definitely ponder the advice you and others have given me as I try to stay above the black line on this transaction with the franchises.From what you said, I think my best bet would be to make MiniDV masters for all of these, and deliver the ones that will accept such and for the others, I will send the MiniDVs out to a duplicator house like ‘Digitial Film Tree’ or ‘Transfer West’, to have a BetaSP, digiBeta or standard Beta master made.
Thanks again for your expertise and professionalism Mark.
Jared -
Hey Phil,
If I would rather not be bothered with renting a Beta recorder and making these masters, what would something like this cost me per tape? In other words, let’s say I asked Phil to do this for me. How much would it cost for you to make and ship these out to the each franchise/client? Also, what type of FCP/data/video file would you need from me in order to make their Beta copies?
Jared -
Hi Chris,
Thanks for all the detailed info. This will be very helpful as I move forward.No I don’t have a CARD, so I will have to re-import the reference file to the timeline and Print To Tape (PTT).
Question 1: I know in the current timeline with the Hi-Def footage, that PTT is not available. So when I re-import, I will need to do it with a new sequence and set it to SD correct.
Question 2: I have PTT’d before back to my Sony HDRFX-1 on a Hi-Def MiniDV to deliver a master to Cable TV stations. Is there a qualitative visual difference between MiniDV and Beta? This could save me some money. Is it just a matter of whether or not the local TV cable channel has the ability to extract from MiniDV tape?
Jared Cicon
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Hey Phil,
Just got back from the wedding reception. Thanks for helping me out here.
No, with this project I captured as Hi-def, not Pro Res. I don’t remember the exact name of the codec in my Easy Setup, (my computer is back in LA), but I believe it was DVCPROHD 1080i60. At this point I would like to give each franchise owner the best quality master without confusing them. If SD is the best way to go I am good with that, but I mean it when I say, I am a bit of a rookie when it comes to the mastering. So any advice you can give would be helpful. I would like to offer a single format/file to all of the franchises. If some of these clients come back to me because they are just as much of a rookie as I am (which will probably be the case with many of them), then I will offer to create a master Beta for them at $100 each.In the past I just used ‘Print To Tape’, and gave the client a minidv as a master, which I recorded back on my Sony HDRFX-1 (Pro-sumer HD cam, I am sure you know).
Maybe this is a stupid question, but don’t TV channels have Beta recorders to make masters when customers show up with odd formats?
Jared Cicon