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Messages - bsbeamer

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Third Party Manufacturers / Re: Tamron 70-200 f/2.8 Di VC USD Hands-On
« on: November 28, 2012, 08:38:41 PM »
wonder how this will stack up against the Sigma 70-200mm f/2.8 EX DG APO OS HSM (enough abbreviations?!) - looks like it's $250 more expensive than the Sigma

Pricewatch Deals / Re: Adobe Lightroom 4 for $99
« on: November 23, 2012, 09:37:52 AM »
Newegg deal is for retail boxed version for Mac and Windows - excellent offer for those without student discounts that want full version.

Amazon has a lightning deal at 11am eastern for an Adobe photo product - probably PS elements, but maybe not?

I tend to only get used gear from places like B&H Photo or Adorama.  They offer a guarantee and can return if you're not happy, are authorized brand resellers, and generally are reputable.  You'll pay a little more, but for this price/investment, I'd prefer a little piece of mind.

May want to look at the refurbs - I know they're not in stock from Canon directly, but other places do sell refurbs as well.

Pricewatch Deals / Re: Black friday - Canon rebates?
« on: November 17, 2012, 09:25:40 AM »
with new the new minimum advertised pricing (MAP), I would venture to guess that it's not happening - at least not at substantial discounts more than the current $400 rebate that expires 12/1.  you may see some places that offer a "package" deal where they throw in extras.  B&H tends to do a software discount bundle.  none of them are going to be a huge price drop.

you may want to check for the IMPORT version and save $100 or so.

also keep an eye on some of the Black Friday and deal websites if you want to (,, and are some popular ones).

EOS Bodies / Re: New Cinema EOS Above the C300?
« on: April 10, 2012, 09:14:21 AM »
IF that is the release price, it better have features that blow away the RED ONE ($25k) and RED EPIC ($34-40k) in many areas, or else it's not going to be received well.  Yes, it will sell units just because it's a Canon release, but new releases like the Sony FS700 ($8k) look amazing.  Even the currently available Sony FS100 ($5k) is stealing some of the market and the results look VERY good.

The C300 is priced competitively with RED SCARLET ($16k) and the feature set comparison is something to really think about if purchasing, especially if you are just looking at 1080p delivery.  I'd expect this "Cinema EOS" release to be something that needs to directly compete with the RED ONE/RED EPIC if the $35k price is true.  Even competing against the Sony CineAlta and Panasonic Varicam market - both of which could be due for updated releases at NAB, though their prices are traditionally in the $60k-90k range.

Overall, production budgets have been getting slashed heavily over the past 2-3 years across the board.  Even the major cinema releases have started to cut back a little bit to increase their profits.  Producers (and their clients) are more price conscious than ever.  I'm not suggesting to make it cheap just to satisfy the market, but they either want to sell to a niche market with a high(er) price, or dominate the market with a lower price - and it looks like they've made their decision already.

If only someone would make a really good EF/EF-S lens mount for the FS700/FS100...

EOS Bodies - For Video / Re: 5D Mark III Timecode Question
« on: March 06, 2012, 08:29:36 AM »
I have not personally used this product for a shoot/post, but I know several people who have and really loved the results.  It basically records timecode to one of your audio channels, then can be converted to a signal with processing software.  It works with basically any DSLR.  Something like this, for people who need frame-accurate sync controls, is still a great option.  And if that is the case, there's a good chance you're doing dual-system sound anyways...

Software & Accessories / Re: Audio Recording Device
« on: February 12, 2012, 10:31:35 AM »
I have the H4n and love it. It's versatile, has XLR inputs, and has been very reliable.

+1 for the H4n for:

- better quality onboard mic's help right off the bat
- the XLR inputs allow for 4 channel audio recording - so you can mic things as needed
- monitor port so you can hear if things are loud enough, and bypass the auto gain issues
- as you advance, the H4n will be there with you

Keep in mind you have to sync the audio in during post production.

Make that +2 for the Zoom H4n.  Use it regularly and it's fantastic.  Update the firmware if buying from B&H and it makes a world of difference in recording abilities. 

EOS Bodies / Re: T4i.....what happened?
« on: February 08, 2012, 08:32:28 AM »
CP+ starts next week - maybe then?  For the past few years the Rebel line has been an early February announcement, but with all the other body upgrades we're expecting this year, maybe timing will be changing?

EOS Bodies / Re: What's Next? Lenses & Cameras
« on: February 08, 2012, 08:30:39 AM »
Really hoping for a 7DMkII announcement in the next few weeks.  Ideally with a swivel screen, but if not it won't be a deal killer.  Also a T4i would be great news and a good second body for my needs - both video and photo.

Looking to upgrade my personal camera body soon and have been holding off for these upgrades before making the investment.

Professionally, if the T4i is a Digic 5 sensor, the video quality should improve in low light a bit more and would be a great second or third camera on shoots for relatively low cost.

EOS Bodies / Re: Cinema EOS Development Opinion
« on: November 06, 2011, 10:57:14 AM »
Firstly unless you are working in a film production house or television studio, the zoom lenses are not marketed at yourself.

And the Primes with their MSRT of $6800 is not that bad, especially when you take into consideration that this is not street price.
How many amateur photographers do you see walking around with a Sigma 200-500? (
Ok i understand that its a $25,000 lens but its also not something that the average Joe will want for his kit.

The same goes for these lenses, they are aimed at the semi pro/advanced amateur videographer, that is using EOS equipment and wants to take it a step beyond a basic Canon 50mm f1.2 for filming ( which is $1500 by itself and not really designed for video.

I agree completely with the zooms.  If you are going to be using these lenses close to DAILY then there are lots of reasons to invest in them.  If you have a larger scale project with a budget that can support it, there's another reason.  But for the majority of folks out there, these zooms aren't going to be purchased for use on a regular basis anytime soon.

As for the primes, I think they are competitively priced within the market.  Street price on them will probably bring them relatively close in price to the RED prime series, and at least on paper the Canon's seem to outperform them.  The available focal lengths for the "complete series" aren't enough to abandon an existing kit, but these lenses will probably be really popular to people shooting on many different cameras.  It would be really interesting to see if Canon adds any additional focal lengths in the next year, or if they offer discounted kit prices like RED and Zeiss do.

EOS Bodies / Re: Cinema EOS Development Opinion
« on: November 06, 2011, 10:46:19 AM »
The problems you face here have got nothing to do with the price of Canon's lenses and everything to do with the way you run your business and market it to customers as there's nothing stopping you from shooting cheap like others do except yourself.

Shooting "cheap" is something that I'd recommend anyone with an ounce of professionalism to avoid doing.  Shooting within budget however, is what I'd recommend everyone to always do.  "Cheap" has so many meanings to it, many which have a negative connotation to them...

This can bring up the philosophical difference of what separates a professional from some guy running around with a Flip camera, or the corporate PR guy who records a speaker at a podium with his iPhone...  Not saying you can't make something worthwhile with cameras like that, but there are much better tools available these days for someone who does this kinda thing more often and makes a living out of it.

These $45-48k lenses and $6800 primes aren't geared to someone on mid-range projects like mine.  I know that, Canon knows that.  I will continue to use the same gear that I currently utilize to get the job done.  I've been satisfied with it and they get the job done.  Until those tools stop performing to my expectations (and client expectations) I'll probably continue to do so. 

EOS Bodies / Re: Cinema EOS Development Opinion
« on: November 05, 2011, 03:52:11 PM »
For those that don't know, T-stop is another method of measuring the aperture while compensating for light loss.  It is commonly used on cinema lenses. 
This thread explains it all quite well:

One main benefit of these cinema style lenses is a smooth aperture adjustment and smooth focus adjustment.  They typically don't have hard "stops" and can (usually) easily go to a 1/3 or 1/2 stop increments between the markings which makes them able to "pull" focus or aperture during a shot.  Among other things, the new Canon cinema prime lenses appear to be much "faster" than the current Zeiss CP series.  They seem to be more on par with the RED series of primes, but until they're put into use and tested on the same camera in the same conditions, it will be hard to figure out the real difference.

Old used PL mount lenses still fetch a huge price tag on the used market, so anything more modern will absolutely hold its value for years to come.  Wouldn't expect to see any "cheap" Zeiss CP's or Cooke's out there anytime soon, unless either of them come up with a budget line to compete with Canon, RED, and themselves.

EOS Bodies / Re: Cinema EOS Development Opinion
« on: November 05, 2011, 03:28:29 PM »
If you've done your homework and planned out the shoot for your project properly, then you will know on which days you need which lenses and you will rent lenses accordingly, rather than buy.

I guess you've never been on location with clients who have last minute changes to everything?  Or a director who wants to get a few other "angles" in addition to the 50mm shot?  That concept works well in theory, but not in practice, unless you're renting an entire set of lenses for an entire shoot - and even then, I've had additional days tacked onto the end of a shoot because the client wanted to get some extra b-roll or scheduled another interview, or something... Unfortunately mid-range clients these days want it all.  Unless you can serve it up with a smile, then they'll find someone else to do it for cheaper.

EOS Bodies / Re: Cinema EOS Development Opinion
« on: November 05, 2011, 12:25:17 PM »
Looking at the prices of the new cinema lenses, it seems videographers have no problem spending more.

Just because Canon is pricing the new lenses at $45-48k for the zooms and $6,800 for EACH of the primes doesn't mean the video community can readily afford these products.  At those steep prices, I'd have to have a huge project with an intense need in order to justify that expense.  With most of the low and restricted mid range budgets these days, I have a feeling that many will be sticking with their current lens lineup for awhile to come.

I think what canon did sounds logical: When they released the 5Dmk2, they had no clue about how this will hit the videography. But they pretty soon recognized this market and started with firmware updates.
Now canon has merged the two previously separate teams, video and DSLR, together to improve both sides and developed technology that plays in the highest league of videography. That's what they just released. So I guess this will also drastically improve the video quality of mid- and entry level DSLRs in the next time.

I'm not saying it's not logical, or a great product and development.  I'm saying the COST isn't going to get these into the hands of the masses, unless a rental house offers a huge price break on a weekly rental for these lenses.  This isn't a "videography" lens release - it's a professional cinema release.  The closer competition is Zeiss and the other PL mount lenses.

Until you see a wedding video guy shooting with these lenses on a regular basis, and the internal corporate video guys ordering several of them at a time, the term "videography" really shouldn't be used.

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