Norman Willis
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>>Well, I wouldn’t really buy an EF-S lens. Think of a lens as an investment. EF-S lenses aren’t going to be around forever as sensor sizes increase. If I’m dropping more than $100 on a lens, I want it to work on the current EF mount, just in case I use the lens in the future on a camera with a bigger sensor (whether that be a Canon camera, or a Red camera).
Sorry, I know thats not much practical help, but if you are planning on getting the 7D with a stock lens of some sort (are you? or body only?) then I would get it, test it with that lens, and see if you are happy with it.
Well, the thing is, I’m clueless about lenses 🙂 This is the first I have heard about the limitations of EF-S. I thought the man at Canon said the 15-85 was a new lens? So I appreciate your help.
Norman Willis
http://www.nazareneisrael.org -
I could be wrong, but I think I’m looking at the 15-85, because of the image stabilization.
It is not technically an L lens, but I think that perhaps your recommendation of the image stabilization is a very good one.
Norman Willis
http://www.nazareneisrael.org -
Hey Aaron.
EF-S 15-85mm f/3.5-5.6 IS at $720.00
https://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=1...The 15-85 is not L series, but it has very good marks, and image stabilization, which might prove useful later.
Also, it seems to be a good all-around lens.
For in studio, well lit and tripod mounted, would you prefer that, or the first lens:
EF 16-35mm f/2.8L II USM at $1520.00
https://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=1...Norman Willis
http://www.nazareneisrael.org -
Aaron, thank you very much for helping me with this. I think the light bulbs are finally starting to come on.
Here are the current lenses I am looking at with the 7D:
EF 16-35mm f/2.8L II USM at $1520.00
https://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=148&modelid=14907EF 17-40mm f/4L USM at $750.00
https://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=148&modelid=8940EF-S 15-85mm f/3.5-5.6 IS at $720.00
https://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=149&modelid=19196EF-S 10-22mm f/3.5-4.5 at $770.00
https://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=148&modelid=10510The first two are L series lenses, but they all get high marks. On the 7D body there is some magnification due to lens crop, so the numbers are effectively somewhat higher.
I am 6’8″, and plan to shoot full body shots on infinite white (white screen). I can get maybe 15′ from lens to screen, and I need maybe 7-8 of those feet behind me. I talked with Canon, and they estimated that with a 7D body, I would probably be using about 20-25mm or so, depending on the final placement, so I absolutely do not want any barrel distortion at wide angle (between 20-25mm).
Do you know which of these lenses would be most accurate at about 20-25mm? And how much difference is there between f2.8L and f4L?
I plan to shoot everything in a brightly lit studio environment, tripod mounted (in teleprompter); but one never knows what the future holds.
Norman Willis
http://www.nazareneisrael.org -
Oh, OK. Now I see where you are going.
I had a long conversation with Canon today. The Y2i body is plastic, and is somewhat more susceptible to damage when used in the field, so I think I will go with the 7D. From a durability point of view, it seems worth it.
I need a wide angle lens that zooms out at least to 22mm or wider, so it looks like I need to use the 17-35 or the 18-40 lens, or perhaps one of the other zoom lenses. I am looking into that now.
The program will probably be 28:30, with three shots of 9:00 (+/-), and two 0:30 spots, and a 0:15 intro and a 0:15 outro (or something like that). For the webcast, I can upload three shots of 9:00 (+/-) and then stitch together a playlist on YouTube (and on Vimeo you just upload what you want).
So I am thinking if I get one SanDisk Extreme III 16GB card and a spare (because I have had cards fail before) I should be good to go. Right now my main question is which lens to get. The sales rep was very knowledgeable, and he recommended the 18-200mm zoom for all around versatility, but there appear to be some issues with lens creep. The zoom lock tends to break, and they say clarity is not what it could be at full zoom. Since most of my work will be in studio, I am considering perhaps the 18-70mm zoom lens, which has a higher rating.
For the sound I am considering the JuicedLink DN101 now, as that will give me the sound built right in, which will alleviate having to synch in post.
Norman Willis
http://www.nazareneisrael.org -
Glad to. It is a Judeo-Christian ministry show, promoting what we believe was the original first-century ‘Jewish-Christian’ faith. It should go out on cable, satellite, and also webcast/Vimeo/YouTube.
I guess what I’m trying to determine how much difference in the basic picture a 7D is going to give me over the T2i. I know the IS lenses are better, and the 7D has more features, but is it worth doubling my initial outlay?
It might be. I think it depends on how much better the picture quality will be. Will it be noticeable to the home viewer on a 72″ HTDV? Or would the differences only be noticeable on the silver screen? I’ve got a limited amount of capital to start with, but am also aware that picture quality makes a difference. I’m just trying to determine how much improvement I will get for doubling my cost 🙂
Norman Willis
http://www.nazareneisrael.org -
Hi Mike.
>>Norman, from another video forum, here’s an inexpensive way to do it.
Would you please point me at that forum? We have questions about the keying, and such.
Thanks.
Norman Willis
http://www.nazareneisrael.org -
>>The vinyl I looked at had a smooth rubber backing. Some of the more expensive stuff had a pock-marked back with dimples every inch or so. I suspect that this is on purpose to make the adhesive stick better. So, if you can get the Home Depot SKU for the material you found, I would like to compare.
I’m actually not going back to the store for a couple of days (I think). And my plan is to look for something thick and sturdy, so I can turn on a heel or a toe without worrying about tearing it.
If you ask me, if you want to shoot green, put up a green screen. EEFX makes a dandy green foam-backed screen (nothing else like it). You can also get the foam-backed cloth from other manufacturers (and even on EBay); but at the end of the day, if you shoot on green you will have a green halo to eliminate (not news to you, I am sure), and if you shoot on white you will have a white halo to deal with.
I am told that the advantage of using white is if you want to have a white background, then removing the halo is not an issue, and so one needs to spend less time removing the halo. However, I am not an expert. I hope Eric Franks will clue us in on how to key out the white halo, and bring in the blue background, like on his Star Trek tutorial.
If you ask me, I personally would not trust gels to turn the white into green. If I wanted to use green I would put up green; but you may be much more expert in that than I am.
I hope that helps.
Norman Willis
http://www.nazareneisrael.org -
>>I have planned to paint it near-chroma green (the closest that Home Depot paint department can match a chroma cloth), but, would white let me use chroma green gels on the lights? (Or chroma blue if needed?)
I also have questions about the keying process. My editor thinks there is no actual keying involved; but that one just cuts away the parts one does not need, and overlays it on a white background. If one uses a pure white background, that may be true, but I think Eric does key, because he uses some light blue backgrounds on his sets.
Where is Eric when you need him, anyhow? 🙂
Norman Willis
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Hi Steve.
I went to Home Depot. I looked at the rubber backed vinyl, and it is not suitable. It has holes every so often that would show up on camera, ruining the flat white screen (making it look ‘perforated’).
I decided about the same thing: I think I will clear a wall, and will mount the top of the vinyl to the wall with a 2 x 4 x 12. The vinyl I will primer with Kilz latex, and then topcoat with Behr Elastomeric (i.e., rubberized) white paint. They said to get the white-white, and not the tintable. Before I roll it out, I will lay down a piece of paneling (to support it on the carpet).
The paint man at Home Depot said if I really wanted to go for gold, I should apply the paint with a sprayer, with a 25-29/1000th’s tip. I don’t know if that is necessary. I’m thinking a roller will do just fine.
Norman Willis
http://www.nazareneisrael.org