You may want to go with a good constant lighting kit for video, and then supplement it with a couple of cheap manual speedlites from someone like Yongnuo, which can also be much more portable and less power hungry.
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
If I click as close to the center in each image as possible, there is no change to the Temp in either file and in the 5DM2 there is a slight +3 change to the Tint, so essentially Adobe is seeing it accurately as well.
as for the tamron well I've had bad tamron encounters in the past so i'm really gun shy about this lens and have a somewhat prejudiced opinion which isnt helped when people report front elements falling outI understand that and nearly forgot about the tamron until another CR wedding photog tested it and uses it as his wedding lens: http://www.canonrumors.com/forum/index.php?topic=11251.0The thing to know about the 6D, is it's not really considered a 'professional' camera as such.... said photog now uses a 6d and praises it over his 5d2, sure a 5d3 is better (at €1000 more...) but the way I see it either the 5d2 and 6d are "professional" or neither is - except for the fact that the "budget" €2000 6d is only valid for cps silver in Europe, thanks, Canon.Personally I think the 24-105L and say a sigma 35 f1.4 would be a more reliable comboThat's basically what I figured, too - but I don't have enough experience yet to be sure of that reasoning considering the very strong "everyone needs f2.8 zooms" opinions.
the 24-105L with some flash is a superb lens tough and very versitile and when f4 aint enough then swap over to the 35. If f4 isnt enough it doent take too much more light loss to make f2.8 not enough.a neat trick with event photography is use a slower shutter speed to balance the ambient while keeping a decent isoThanks a lot for this and the other hints, it's just a pity the Canon cameras have such a slow x-sync (6d: 1/180s...), but I really have to test 2nd curtain sync more to get a feel how much it can make a bit of motion blur "snappier" and at what export resolution.
Thank you for your reply!
I think your missing my key point: Adobe Camera, Lr (essentially the same engine) with WB set to "As Shot" to view the in-camera set custom WB RAW files: So there is no parameter other than the cameras data to tell the program WHAT the WB is. I don't think the variance should be this big. 50-150K I might accept, but 550 and +10 tint is excessive to me.
When you say 1 stop better, are you just talking about sensor noise performance or AF sensor performance?
My question is purely about sensor performance and why f2.8 will stay that important forever.There is also another thing that you may not think of, is that lenses wide open generally don't perform their best.
... unless you're scraping together the money for a Canon 24-70L2basically having a wide aperture available is like a condom
its better to have it and not need it than to need it and not have it
Ok, thanks for the answer from a real world pro, so you're on the side that even f2.8 isn't really "fast" enough and it just happens so that the fastest zooms available are f2.8. So if I understand you correctly you'd rather go with a Tamron f2.8 + a faster prime like the Sigma 35mm than a Canon 24-70/f2.8 for the price of both combined?
@Narcolepsy, great shot, like the original. If it was mine I think I'd keep full width but crop it top/bottom to give 1x2 format.
Some decent lighting will let you stop down which will increase the DoF which will make it easier to get the subject in focus. And you can always put a mark on the floor or something, and start recording, go stand in place, wait for a second or two, then begin which will let you edit out the start & end.
Yep...right now, I'm working on learning more about lighting. I have some stands and I've bought different sized clamp lights from the hardware store, and a few diffusers and clamps.
I'm trying to do somewhat of a 3 point lighting...but am limited to the layout of my kitchen..and the mixed lights there (halogen track lighting) and my clamp lights are CFLs...all in the daylight (5500 I think?) range.
Like I mentioned, I got something heavy to clamp a large, tall ruler onto....which I used instead of marking the floors...with this I can know where my head, nose and chin are...and compose the scene knowing better where I'll stand..and focus on that ruler...
Do something like this...no big deal hitting start manually...walking into the scene..doing your bit...walking to hit stop.
That's what editing is for....and since I don't have a clap board, I often use that beginning to talk to describe anything about the scene I want to remind myself about during editing....
One I got in December
I remember reading something about the price difference having something to do with extra/higher Tax(es) when manufacturing (Don't quote me exactly on this) cameras that can film/capture content longer than 29:59 minutes. Anything after that is considered 'broadcast' (I think, again don't quote me) and incurs the higher tax(es), which is why 1DX/5DIII etc can only record for 29:59.
I'll have a look for the article and post it later.
Your grand niece is very cute with that pony.
One comment, not sure if you're able to, but a fill-flash (preferably a 430EX or 580EX class, or even off camera) would help greatly for riders faces.
Also you're at ISO 400 @/f13, any particular reason you are stopping down so far instead of f/7.1 or f/8 or so? 1/500 is good, but you probably could go faster with ISO100 @f/7.1, and you'd probably get slightly sharper images, since on a crop you tend to (depending on pixel counts) start hitting diffraction limits quicker than full frame.
cheers for the comments.....
I dont like using Flash on or off the camera near the horses...as you never know if your going to spook one near you
The conditions look better than they were and with I was using the large Sigma Lens which cuts alot of light out in itself...