Michael Sacci
1
COW Coin
Forum Replies Created
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If you are going to shoot outside a ND filters are a must, I have been looking that the Faderfilter Fader ND and the LCW Fader ND. These are expensive filters so I will but one that fits my canon, 58mm and get a step down for my Nikon lens. A loupe (like the Z-Finder) is a must for outside shooting also.
Nikon E series lenses are a steal, they are really inexpensive and they are built better than anything is today. The glass is also very good, Good 70-80’s gear = top notch 2010 gear. One nice thing about old manual lenses is that the aperture ring is on the lens and not done by the camera. For us cheapo who went with the T2i that means we don’t have to find the shift key to change f-stops.
Norman’s got a lot of good suggestions but I would stay away from Cokin filters (unless you are getting the expensive P series) they are not the best quality. You lens is only as sharp as the cheapest piece of glass/plastic that you are shooting through.
The toughest thing is to balance what to spend the big bucks on vs the cottage industry things. Lenses and filters need to be top notch, they are what matters most. shoulder mounts, matte boxes, follow focuses as long as they work you can do with less then the best.
These cameras are really mini REDs in a lot of ways, but the best connecting is that what starts out as a $900 purchase to get into Shallow DoF turns into a $3000 package pretty quickly and that is not looking at many lenses.
But the one thing I don’t think you have answered is, what type of filming are you going to be doing. While most will say I want to do it all, you have to think about what is most important. If you want to do scenics you need to be spending your money on a good tripod vs a shoulder mount. If you are working indoor you don’t need ND filters and lens hood, if outdoors that they are a must.
Let the fun begin.
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Now that is going to far, the question is what works better for what you are doing at the time. If I want smooth playback, for say sports or faster pans than 30 would be better.
Also if I wanted a nice light slow motion, I would shoot in 30 and conform to playback at 24. this will look a lot cleaner than slowing down something shoot in 24p.
There is a difference between you saying I don’t get it… and when should I use it. If you want a cinematic feel, you really need it, but no one is saying you NEED a cinematic feel. There is not a right or wrong answer, but there is a what works for curtain situation and what doesn’t.
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I did mean L but I stand corrected. The non-L zooms lenses are also variable f-stops so they are not the best for video. But you are right about the primes for sure.
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You need to convert the mov files before you bring them into FCP, use compressor, make sure you match the frame resolution to what was shoot 1080p or 720p. Keep the frame rate on current and progressive and it will work for you.
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That is pretty vague. Are clips going out of sync? Is FCP adding black at the end? is this to all the clips, one of the clips, be more descriptive.
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The batteries you purchased could be bad. Have you tested them? What is their voltage?
If these batteries are good then maybe the remote is bad.
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For the 5D you have to get L series lenses, that is a full 35mm sensor, non-L will vignette on you.
So on that camera it is a good wide angle to CU lens. The question will be how close can you focus (the distance from the food/subject to the camera) at 105mm. Is that going to give you a close enough shoot on the food. Normally stuff like that you need a marco lens. To me this is where the DSLR suffers, it is more like a film shoot, where you stop and change to the lens that is needed for that shot. If you are running through the show and not wanting to stop and set up camera, I’m not sure that a DSLR is the right choice for this. If you want to do it this way I would have a second body with a macro lens ready for the close up shots. A 7D with a 105 or 180 macro would work wonders.
this is a 4x lenses and like Noah said it is pushing the range for a still camera but it is a good lens. There is just no “This lens will do it all.”
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take a look at Magic Bullet Looks, it is what you want.
There is no way anyone can say, do this and that for you video.
[Penelope Wylder] “as well as give the over-all look of the footage a more ‘glassy’, smooth look as opposed to the rougher,”
I believe that is done in production, such as the guy at the mic, the shot is soft and underexposed. But this doesn’t scream video either, you just need to get everyones expectations inline. Go the best you can, with what you have. I think what you have is a good start. Magic Bullet can give you access to different looks that can be tweaked to your liking.my 2 cents
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The funny thing is that only people that don’t seem to know how to rip DVDs are on this forum.
I do get a kick out of your response to these type of things,
But I actually have to rip from DVDs a lot more than I want to so I understand. I worked for a replicator/duplicator for a while and salesman where always telling client to just master to DVD, it’s digital after all.
I trust that Robert is being honest but like I said there was no reason to mux the original file.
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L lenses are their top of the line Pro series lenses, they are made for the full frame cameras, like the 5DmkII and the 1D. If you have the 7D or the T2i you are not using all the glass. You also get a 1.6x factor on the power so it is really a 38mm-170mm. Personally I would get a wider lens (if you have 7D or T2i) 10mm lenses on those cameras give you a nice wide angle. I also prefer 2.8 lenses, which are more expensive for the L series.
Really for this type of question you have to tell us what camera you have and what your plans are. If you are needing the high end for outside sports that is one thing, if shooting indoor in cramped areas that is another.
But that is a great lens. The question is goes it meet your particular needs?