C100: Best Interview Lens

Most lenses perform better when stopped down around couple stops from wide open, so if you have an f/4 zoom you'd need to be around f/8 to get optimum quality out of it, which would need a whole lot of light and probably would not be a shallow enough depth of field for what is typically desired from an interview. An f/1.4 lens, on the other hand, can be stopped down to f/2.8 or f/4 to get the best image out of it
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I'm a bit confused/curious here. Can you clarify what you mean by "perform better", "optimum quality" and/or "best image"

What do you feel you are losing when a lens is wide open? Sharpness/focus? Quality of image? Colors? I don't usually shoot with my lenses fully open, unless it's an issue of not enough light.
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As for the OP's original question, I've always loved my Canon 24-70 2.8 for interviews with my Sony FS100. Will continue using it with my c100 but I don't have any real-world samples yet. And another vote for that mid-priced Canon 50mm. I think the 1.2 is $$overkill$$.

Many rooms, such as offices, aren't that deep.
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haha, those said rooms seem to be where I'm destined to shoot 96% of my interviews.
 
Scott F said:
What do you feel you are losing when a lens is wide open? Sharpness/focus? Quality of image? Colors? I don't usually shoot with my lenses fully open, unless it's an issue of not enough light.
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Most lenses are soft at the widest aperture. There are exeptions but generally a lens is sharpest a few stops from wide open. Depends on the lens each lens has different optimal aperture for sharpness.
 
Thanks. I've had some soft shots using vintage FD lenses (open at 2.8), but I figured that was just par for the course given the age/condition of the lens.

I've always felt my current lenses were *fairly* sharp wide open, but expectations will obviously vary depending on the user.
 
Scott F said:
I'm a bit confused/curious here. Can you clarify what you mean by "perform better", "optimum quality" and/or "best image"

What do you feel you are losing when a lens is wide open? Sharpness/focus? Quality of image? Colors? I don't usually shoot with my lenses fully open, unless it's an issue of not enough light


.
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Almost every lens has a sweet spot, for both, focal lenght and aperture.
 
It is very situational. In my camera pelican I carry a 50 1.2, 24-105, and 70-200 f4 IS. This goes with me everywhere. If it's a more lit two camera interview I will use Zeiss Contax primes, usually my 35/50 and 85. On the flies always go with the 24-105 for versatility.

Personally I like things a bit wider on the A Cam. I hate super tight interviews. But it depends on the project and the subject.

One thing I don't mind at ALL is things going a bit soft or dreamy. If you are going to shoot with a 1.2 lens might as well open it up, otherwise I'd just be using the 1.4. People way overvalue sharpness in my mind, we already have way more resolution in these cameras than the end user will typically see (for web work at least). Give me something with a nice beautiful rendering over sharpness any day of the week. And yes, this sometimes means you need to keep an eye on focus...
 
I have a 24-104, Sigma 17 -50, and 50 1.8. I might throw away the 50 1.8 its terrible.

Ive hired all the Canon lenses but can't justify paying the price on a Canon 50 f1.2.

What are peoples thoughts on the Rokina/Samyang lenses as I could buy a 35 & 50 and also afford a Tamron 24-70 and this would fill up my kit nicely

Mixed reviews on the internet re the Rokina/Samyangs
 
remsyatassi how do u find the Zeiss Contax primes, 35/50? and what mount do u use to attach to the C100/300?
 
Ned and some of the others make some good observations in this thread about focal length. Two cameras is nice but not always possible. My biggest challenge to shooting wider interviews is I primarily use LED panels, the key panel through a small Chimera. The LEDs are great for interviews but the downside is that they have rapid falloff so I have to usually place the key pretty close to the talent. This makes even framing with a 50mm a challenge as the FOV reveals the key light in frame. If I move the key light back out of frame, then the output gets too wimpy and I am making the light of the quality harder, which sometimes works and sometimes doesn't. Not a problem with bigger tungsten or HMI or even Kinos but I use my LEDs a lot and rarely use my Kinos anymore, other than for lighting green screens, I got sick of the Kino look on talent. A lot of times now, I will shoot A camera with the 85mm 1.8 from 10' for an MCU and then handhold or loose tripod the 5D MKIII with the 28mm 1.8 so you can see the set, lights, interviewer, everything. Can be a cool look for certain subjects although it definitely doesn't work for everything.
 
Tom6K said:
remsyatassi how do u find the Zeiss Contax primes, 35/50? and what mount do u use to attach to the C100/300?
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They're good but not always cheap as you might expect. The 50 1.4 is pretty reasonable at usually under $400. I got my 35 1.4 for about $1300 but I've seen them go for as low as $1100.

To me their look is very beautiful. Soft wide open with CA and purple fringing but I think still quite a unique image. Stopped down they're extremely detailed.The 85 1.4 is outstanding as well. Flare is great too.

Currently using fotodiox adapters and there is play. Next week I send in my set of 5 to get the cine mod. Very excited!
 
I love an 85mm. Pick one. However if budget wasn't a issue the Canon 70-200 f2.8 is the one I love.

When I shoot on camera talent lines to camera it's the lens of choice.

If i'm in a tight situation the Sigma 18-35 at 35mm (this is a APS-C lens) or Sigma 50mm ART are my choices.
 
So it seems the takeaway here is:

1. For a pretty, well composed single talent interview, with the right FOV and a soft BG, around 85mm is a perfect choice, although the longer focal length with the 70-200 2.8 gives you options that are great if you have a long room or are outdoor
2. Around a 50mm focal length works better for a single head and shoulders in a smaller room, allowing you reveal more the environment while still having the option of blurring the BG
3. Around a 20-35mm is good for a two or three person interview master or if you want to get in closer and reveal the total environment.

It's no coincidence that a standard film prime set is 28/35, 50, 85mm with a S35 imager. These are the focal lengths and FOVs that just work for wide, medium and CU shots in standard film making. How you get to these focal lengths isn't important (zooms versus primes, brands) but these are where most of us want to be unless we are shooting something way out of the ordinary compositionally. It seems there is little consensus on brands, we all use what we like, Canons, Zeiss, Nikon, Korean No Name... For me, the sweet spot on my standard 85mm that I light to is usually F3.5. This allows a nicely soft BG buit a large enough DOF that if the talent shifts in their chair, or rocks on their feet in s a stand up, they don't go out of focus. If you buy slow lenses (F4 and above), it limits how much you can soften BGs unless you have a huge room and can position the camera far away from the talent which producers and interviewers hate. They always want to be as close to the talent as they can be.

For my C100 and rental C300s, I have slow lenses (18-135 STM IS and 10-18 STM IS) and I have faster lenses (28mm 1.8, 50mm 1.4, 85mm 1.8 and 105mm 2.8). I never use the zooms for interviews, they aren't as sharp and are slow. At a longer focal length, the 18-135 STM IS is at 5.6 wide open. Lenses don't look good wide open so stopping it down to an F6.3 or F8 to make the lens looks good, I don't have enough light unless we are in daylight exteriors. So the slow lenses are too limiting for interviews in most situations IMHO. The 24-70 2.8 would be a good interview lens, but it is not cheap and is pretty large and heavy for handheld, although it can be used. The 17-55 2.8 works too but is a bit too short for interviews for most situations. It is nice to zoom around focal lengths in a longer interview, especially if you only have a single camera but you can get stung by getting caught in an important answer mid zoom, has happened to many of us over the years. Two cameras is better but more gear to haul, longer setup, two sets of batteries to worry about, etc. My most successful interviews visually were with the 85mm 1.8, it just works.
 
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As for a 35mm I've gotten burned a few few times with it. The distortion can make faces look a little strange. Features like the nose pull forward and the head gets more egg shaped. It's a wide angle so be careful especially on the sides and don't get to close to the subject.
 
Great puredrifting ! I reckon yr right on the money: the 50mm and 85mm are the go to lenses. I'm also gonna purchase a 24 - 70 to throw in the bag.
 
I use the doo dah out of my Tamron 17-50 non-VC. I have a 70-200 f4 and a f1.4 50mm Canon prime in the bag but they rarely see any use at all.
 
mhood said:
I use the doo dah out of my Tamron 17-50 non-VC..
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Same here. In a Nikon mount, unfortunately. But it works great. I'd like to get some version of a 70 - 200 F2.8. But I think I might just get one of the versions of the Rokinon 85mm next with its great price point. Sigma 18 - 35 is also high on my list.
 
50 and 85 mm , i would not go bellow it! would not shoot wide open ever.... dont have the light, dont shoot the interview it will not be pretty anyway. i would recommend zeiss zf/ze 50 and 85mm f1.4. its kind of cheap for what it is! plus its same glass that is used in their CP lenses!

i would not use sigma art 50mm as they messed up the background some how,- its just ugly, i am not sure what exactly is wrong, but something is.

Contax Zeiss CY glass - would not buy it over Newer Zeiss ZE/ZF lenses , 1st i really dont know why!?!?! the price for used fast zeiss CY glass is same or even more expansive...... plus their focus breathing is a minus....

but with zeiss u loose all auto focus things..... still u get same collor rendition among all their line of lenses...

also i would suggest old Converted Canon FD lenses, they are not that bad at all! love canon FD 85mm f1.8, 135mm f2.0, great zoom 35-105 f3.5 but has long minimum focus distance!
 
My go-to interview lens as of late has been the Contax Zeiss 28-85 f/3.3-4.0. While a tad slow and heavy, it produces a wonderful contrasty Zeissy image even wide open. The one touch focus/zoom may not be for everyone but I love the feel and it's great for run and gun situations. The lens has a wonderful mechanical construction like all Contax Zeiss lenses and features a long focus throw for precise focusing. It's just such a fun lens to shoot with. It's also relatively affordable, with nice copies easily found on eBay from $330-$400.

The versatility of a zoom is great if you are interviewing several people at one time. I shot this Mother's Day video for church all on the 28-85 (please forgive one slightly out of focus shot - I also had an unruly three year old to deal with!): https://vimeo.com/newtonpres/mothersday2015
 
Another devotee of the Sigma 18-35/1.8 and 50-150/2.8 combo here... I have the Nikon versions and use them on every S35-to-m43 camera system I work with
 
Erik Naso said:
As for a 35mm I've gotten burned a few few times with it. The distortion can make faces look a little strange. Features like the nose pull forward and the head gets more egg shaped. It's a wide angle so be careful especially on the sides and don't get to close to the subject.
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I only use those for a two or three person master shot, never for a single. The trick is to keep talent centered, the distortion is amplified toward the edges. Thankfully, I rarely shoot two and three person interviews anymore. Unless the subjects are related to each other or highly interactive with each other, multi-person interview usually suck, with one speaker dominating the interview and the other person or two staring off into space most of the time. Very few legitimate reasons for two person interviews although I used to do a lot of them with directing/writing teams or acting teams in buddy films or comedies.
 
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