I'm interested in the 45mm if it's not too expensive. 24mm is a bit too wide for landscapes... Something closer to 150mm on a view camera could be great.
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Just occured to me...this is all just DATA...wonder why there isn't some way to just stream off the image data via the USB port straight to computer or via a usb wireless dongle to a computer, and just bypass HDMI altogether?
Just a thought...
Fimmakers shoot with film cameras, videographers shoot with video cameras. The C100 is a video camera, not a film camera.
I have a 60d but I have an opportunity to upgrade it at a reasonable price and get a 5d Mark III. My only worry is that I will miss the extra reach I was getting with APS-C and the vari-angle screen(but thats more of a minor concern). I have a 5d Mark II and love the full frame but worried I am going to miss the reach.
I do weddings, portraits, concerts and videos of all sorts. I dont have any ef-s lenses.
Is the image quality worth the difference and loss in reach?
I've done it myself. I took a picture with the following configuration and the pictures were identical.
Canon 7d with 18-135mm lens at 35mm.
Canon Rebel (film, so full frame) with 35-80mm lens at 35mm.
Why did the picture turn out the exact same? Because the 18-135mm at 35mm is at 35mm on my 7D. Since this is an APS-C only lens, the stated focal length is correct. It was not "zoomed" in to 56mm. The picture was IDENTICAL to the Canon film Rebel at 35mm.
Do it yourself and be amazed.
Get an APS-C-only lens and sent it to XYmm on a crop body. Then, get a EF lens and set it to the same XYmm on a full frame body and the two images will be the same. (I understand that the image will be different if an EF lens at the same focal length will be different when put on an APS-C body). Trust me, do exactly what I said and you will see that I am correct.
Do it right now and report back.
I would also recommend the Samyang 14mm f2.8 if its wide enough for you. I also have a 7D and I've been using the Samyang 14mm alot lately. Its really sharp for the price and my only complain is the distortion (which is expected for such a wide lens)
At the 14mm focal length its very easy to zone focus so the lack of AF wont be much of an issue.
I know it's not f2.8, but consider getting the EF-S 10-22 f3.5-4.5. When dealing with wide angle, losing one stop is not a huge deal. A used or refurbished version should be less than your budget.
I've heard from filmmakers that manual white balance might not be such a good idea for videography. I think it might depend on whether or not you're mixing different scenes, lighting setup, cameras, and the like, along with how much and what type of post-production you'll be doing.
If you do use a manual white balance, you will want to use the same one for the entire production (or at least for portions of the production intended to be visually contiguous) rather than a fresh one for each scene or take. That will take some careful planning, especially if you're using mixed lighting or available light.
And, if you use a manual white balance, you will most emphatically want to use a good target. Avoid plain paper like the plague. Your best bet will be polystyrene, such as the lid of a disposable beer cooler.
Thanks, that makes a lot of sense. In the portrait photography world you usually can't get tight enough. Some how the rules of video appear different. I also notice it's common to cut people's foreheads off in close ups.
I can imagine panning at 60mm or greater would require really steady hands and slow movements. Panning at 100mm+ would give the audience motion sickness. You'd have to spin 90 deg using a a 14mm to even change the scene.
Is the fact we're mostly using hand held DSLRs a factor in wide lens popularity. Are large commercial cameras (shoulder mounts) as wide?
I'm just saying all the lighting in the world can't truly compensate for superior DR, particularly in exteriors or when practicals are used.
As a practical matter, I agree. But as a matter of theory i wonder, if someone could have complete control over the light, couldn't they bake the same "cake" as you would get from doing a film to digital transfer? Film has 15 stops DR, but even that get's compressed to 8 bit color when being viewed digitally.
So logically there must be some 8-bit input(5D3 with perfect lighting) that creates the same digital projection as film. It's all about creating the perception of DR. Which film does naturally.