Get the 24-70mm Mk II, I haven't used any of my primes since I got it, it's sharper than all of them, and a hell of a lot more versatile! And my primes are L lenses too.
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Thanks everyone. I hope it makes me a better photographer hahahaCongratulations!Dang, was it THAT bad of a photo?
Great job advertising iPhone camera to!
I just got my iPhone5 and I think in some respects produces better jpegs than my first digital 8MP Rebel.
I actually shot it with my 5d3 and 100mm macro.
In my car using natural light. I thought it was a good photo :-(
Ah of course not, the Alexa is an amazing camera, I was just trying to put it in layman terms so to speak, that by using an external recorder you can record into an edit ready format that even some of the best cameras use. It by no means was meant to imply that you're going to get similar results to a $60k cine camera. Sorry for the confusion. Of course, DSLR footage is still just that, and can't come close to anything from the Red or Alexa.For those wondering about the Uncompressed HDMI out and why it's important, in the most basic sense, the video files that the 5D creates are compressed .movs with a h264 codec, in a color space of 4:2:0, what this means is that you don't have much latitude to play around with colors or video levels in post (think of it as RAW vs. JPEG) H264's also aren't immediately ready to edit with (of course you can if you want to, but they really should be transcoded to a different codec such as Apple Pro Res before editing)
What the Uncompressed Output with HDMI allows with the aid of an external recorder (such as the Atomos Samurai) is to record in the Apple Pro Res HQ codec (perfect for editing straight away and the same format the $60,0000 Arri Alexa cinema camera records in (what they shoot Mad Men on)) in a color space of 4:2:2, which gives you more latitude to grade (grading is post processing video) with. Hopefully that makes a bit of sense, and makes it a bit clearer that this feature isn't really for the average consumer shooting a bit of video on their HDSLR, it's more for the Pro's / Enthusiasts who are looking for a bit more flexibility and convenience in post production.
It's great to get an HDMI output. But comparing it to an Alexa is going a bit too far... The Alexa can record RAW and 4:4:4 and also output HDSDI 10 bits. Of course you will probably get something beautiful and muuuuch better than today. But for sure wont rival the RED Epic and Alexa... We still have to see the quality of that HDMI output. Noise, etc. I get everyday people coming to our shop with prosumer cameras footage recorded in a Samurai thinking will be as good as a big camera just because is recorded in Prores... Ajjjjj... Grading that crap is so nasty...
My thoughts exactlyOH DEAR ME
If you could read Chinese (I know that's something difficult, sorry) you would find out that it is just a PS work and the author has no intention to deny that...
This is what I love/hate about this forum. we get nearly two pages of speculation before someone does a fact check and then even after that, we get more than a page of additional speculation. This thread will probably go on for another several pages despite the translation.
I'd suggest doing some serious research on shooting video with a DSLR first. The main reason these "stills" cameras have become so popular in the "film" world is because of the sensor size, beautiful image quality & availability of so many lenses. What you don't hear so much about is ALL the workarounds needed to accomplish that feat.The T2i is perfectly capable of recording great videos without most of that stuff, agreed it will all help, but it's not necessary for every application, as long as you bring the camera closer to your body and keep it steady. I've never had any trouble focusing off the back LCD, except in bright sunlight. Extra batteries are needed, but Memory Cards don't fill up THAT fast. Especially for short-movie filming, where you're usually only recording a couple minutes at a time. While the on board sound is far from ideal, it can be used, I would recommend getting an external mic. though.
You'll also need to invest in: proper stabilization (to avoid jittery images), fluid tripod-head (to help with rolling shutter), an optical/ electronic viewfinder (you need to focus manually off the LCD screen), tons of memory cards (they fill up REALLY FAST at 1080p), batteries (they die fast while on live view), external mic (so you don't hear every little touch of the camera), ND filters (to get the shutter speed down to the proper setting)...
And that is just the bare essential. Then to take it to the next level:
Rod & Rail system, follow-focus unit, gears, matte-box, external audio recorder, more support rigs, and then all the post production needs...
It gets expensive.
If you want TS I say wider is better. The 17mm is a crazy good lens.
You are also missing the something like a 16-35 range. The 2.8 L 16-35 is amazing.
If you want a long zoom you could go with the 100-300L 4.5-5.6 IS, but it's not that much of an addition to your 70-200 and is slower.
QuoteI have $500 budget to spend at Home Depot. Please recommend what power tool I should buy.
Get a snow blower. Oh wait, you didn't mention that you live in San Diego...
What I'm saying we need more information. You want to buy a lens...to shoot what???
I'd consider the 16-35L and the 100L. The 16-35 is a nice UWA zoom and the the 100L opens you to macro photography. Both would open areas of different types of photography for you to explore. I wouldn't consider the TS lenses unless you are serious about landscape/architecture and have a good tripod system. Wider TS (17 and 24) are generally more useful for landscape/architecture esp. indoor. The TS 45 and 90 are typically more used for product photography. All TS lenses are manual focus only.
I'd skip getting a prime 300mm or longer -- it doesn't sound like it's a pressing need. If you want to extend your reach, you could consider getting an extender or two.
ok, so here we are:
1. http://www.bhphotovideo.com/c/product/279582-USA/Canon_8806A002_EF_17_40mm_f_4L_USM.html - 779$
2. http://www.bhphotovideo.com/c/product/727169-USA/Sigma_320101_85mm_f_1_4_EX_DG.html - 969$
3. http://www.bhphotovideo.com/c/product/647011-GREY/Canon_3554B002_EF_100mm_f_2_8L_Macro.html - 979$
When you digg deeper, you'll get into your budget and have fun with new equipment until the end of this summer
Send me the $2500. I'll send you a lens.
Surprises are such fun!!
Seriously, as Big Brain intimates, if you're just a lens collector, it really doesn't make much difference. One fancy lens is as good as the next. If you're a photographer, you'll choose a lens because it will help you create a particular image that reflects your vision.
Perhaps you want to explore your vision before exploring the lens market.
Sorry to intrude on the fantasy.
ah, I miss the days of lens lust - having those lenses you eyeball for months and then finally buy and check the tracking number 10 times a day... nowadays, I've only got like ONE I might like to get at some point. boring
if I had your bag, and 2500 to blow, I'd probably pick up the 24L II and the 135L
or if I really wanted to toss some high mm telephoto in there and some macro, maybe the 100L and a 100-400L
...so many possibilities
With your gear...
...I would get:
1.) 35L + 135L to have 35L / 50L / 135L prime "trinity"
2.) 16-35L + 100L macro - you have no UWA (expect fishy zoom)
3.) wait for 24-70 Mk II to be available, sell 24-105 L in favour of 24-70 Mk II and get 17-40L
These are my 3 scenarios/recomendations for you.
I'll vote for 85L II on the 5D III. I have the 50L, too, but when push comes to shove and I *need* absolutely sterling and unmatched results in studio and portraits, the 85L II is the one.
base on your gear information, i guess that suggest you to buy the following:
2. 100mm Macro
note: another thing that i need to mention that you probably do not need 24-70mm since you already have 24-105mm. you probably ask me why? first, you are having 5d mark III. second, i see there is no need to get extra stop in aperture to give up 3 IS stop when you are holding a good low light support in your hand. third, you are having lens with large aperture 50mm and 85mm. if you want more shallow depth of field with 24-105, try to get closer to your subject with both your feet and zoom
assuming that you do not interested in shooting bird. as if you do, $2500 is not enough
+1 for 100L Macro, it's relatively cheap for L glass and a lot of fun to use, plus you'd still have +/- $1500 left over for something else. Maybe the 16-35L if you wanted something ultra wide, or the 24L II if you use that focal length a lot.
I saw you mentioned the 85L and 135L, but considering you have the 70-200 II already i have trouble recommending those, that lens is a freak for a zoom, ridiculously sharp. Then again the 85 would give you a few extra stops and the bokeh is out of this world, but I don't see it getting much use with the other lenses you have.