Richard Van den boogaard
Forum Replies Created
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I would advice against the stock lenses – buy sth proper instead, provided you can afford it.
There’s no one lens for all purposes. The 50mm is a great start nonetheless, although you physically have to move to make a correct frame (being a prime instead of a zoom). Sometimes you need wider angles (24mm and below), sometimes longer reach.
My advice: get a 24-70mm from Canon, a 50mm and if you can a 70-200mm (should be available second-hand now that the new version has come out recently) to get started. Land some jobs and pretty soon you’ll be buying more glass (and perhaps a 7D or 5D mark ii body).
Two other things you absolutely need:
– Tripod with video head
– Viewfinder over LCD-screen (I like Zacuto’s Z-Finder)Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Zoom H4N is the best and most affordable solution. Great for recording set noise (cross mic on front) and two XLR-inputs on the back. I use it all the time.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Not likely, the processor inside the 5D mark II is unable to handle it. Better wait for the mark III, or use an extra 7D as body.
I have both a 5D mark II and a 7D and it gives you much more flexibility:
– doing shoots from two angles with two bodies
– 50/60fps with 7D
– Extended zoom because of 1.6 crop on 7D (e.g. 70-200 becomes a 112-320 on the 7D).
– Back-up in case of failure
– Ability to join the Canon Professional Services (CPS) for quick repair when one of those bodies breaks/drops/dies on you.Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Hi Aaron,
Either ProRes or Cineform´s NeoScene are your best solutions. Although the new CS5 offers a Mercury Playback engine, transcoding to some intermediate format still works better if you do extensive VFX or CC-work with the files. Since you use FCP, ProRes 422 probably is your best choice then.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Check out the 3-day workshop from Vincent Laforet – very in-depth and worthwhile… still learning…
https://creativelive.com/courses/vince_laforet/
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
I never delete the originals, even though I transcode with Cineform’s NeoScene. Although this and Apple ProRes are great for archiving, you never know if these codecs still work in ten years time.
In other words, better be safe than sorry. Hard drives aren’t that expensive these days, so it all depends on where you place your value…
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
On longer lenses, the leverage will easily create camera movement. You probably need to mount the lens to the tripod, not the body itself. You can do this with most of the longer Canon lenses. Get it properly balanced out before using it or lock it off completely and make sure it’s not too windy.
Also, do note that everything becomes more compressed when using longer lenses.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Here are my suggestions:
1. 7D is a wonderful camera, as it gives you speed in both photography and filming (50/60fps). Downside is that it is not a full-frame but cropped sensor camera, meaning that you have to multiply your focal range by 1.6. Of course you CAN buy specific lenses for this camera, but I think you’re better off investing in glass that you are able to use on a full frame body (e.g. 5D mark II) as well.
DSLR videography is all about shallow DoF, so invest in proper glass.
I mostly use the 50mm F1.2, 24-70mm F2.8 and 70-200mm F2.8 IS from Canon. With these you can start to build things up. Perhaps you can better choose the 24mm, due to the 1.6 crop of the 7D.
2. Be prepared that focusing works directly opposite to Nikon.
3. I can’t advise on where to buy. However, should you have the budget to buy both a 5D and a 7D body (it’s always better to have a back-up if you depend on this for a living), you may qualify for the Canon Professional Services (CPS) Programme. This means you get priority service if one of your bodies breaks. But do get a proper professional insurance cover as well.
To learn more about what you need to film with DSLRs, check out Philip Bloom’s blog or invest $129 into the CreativeLIVE workshop from Vincent Laforet.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
IMHO – this boils down to blowing up pixels that were shot at half the resolution you want to edit at. Generally not a good idea… especially since the footage was compressed to begin with (as opposed to RED’s RAW). So you would technically never be “finishing” in true 4K.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
I hate this bug! Why have the features if you can’t have them working at the same time. Hopefully Adobe will have this fixed in CS5…
Anyway, a good tip to get the opacity to work is to include a bar of black video (or color matte) on top and change the opacity there.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com