Canon EF 18-200 f/3.5-5.6 IS Lens APS-C
- Thread starter cuervo
- Start date
cuervo
Veteran
I, totally, agree Paul. Auto-auto has never worked very well, stepwise exposure changes are the bane of auto everything. But, I was getting extremely frustrated with the aperture change when zooming modern zoomies. This approach seems to work very well, and it saves me tons from keyframing in post.
cuervo
Veteran
Had some free time this AM and wanted to run some resolution tests on the Sony kit lens vs. the Canon 18-200 APS-C with a metabones adapter. Using a standard resolution chart, both lenses displayed amazingly similar performance, scoring around '7' both vertically and horizontally at the widest zoom, marginally better at f/8. If I had to give an edge to one or the other, I have to admit the Sony kit lens looks better. The only advantage to the Canon lens was 1/3 stop bigger aperture at wide angle. I'll get around to posting the resolution charts when I have more time. Looks like I've gained nothing with this canon super-zoom. I've got a Tamron coming, so, I'll repeat this test for the Tamron. I raised a lot of dust,but, didn't amount to anything...:-(
Colinelves
Well-known member
Ah-ha. That's really smart! How do you set the auto-exposure to work like that?
cuervo
Veteran
MENU/CAMERA/AUTOISO LIMIT ; set it to one f/stop over the base. In case you weren't aware, if you set it the same as the base, it will lock the ISO to that value. Then, just be sure to have auto iso activated by pressing the Gain/ISO button on the side until the little "A" is displayed.
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cuervo
Veteran
I just got the Tamron superzoom, today. Initial test look good except for one show stopper. With the Metabones speedbooster, the f/stop keeps hunting. very unacceptable and noticeable exposure shifts due to this aperture hunting. I like the lens, tho'. I'll try to get around to a resolution test to compare to the Canon super. God, i just got off the sizzler shoot. There was a REAL murder across the street from our location. So, we have 4 actors in police uniforms, shooting blanks out of their REAL 38's. And the police show up because of the real murder across the street. Needless to say, we were shut down for 3 hours while they searched for the suspects. Maybe this is an omen for the movie.....with Danny Trejo and Esteban Echevarria.
Shooter
Veteran
Hey cuervo
May I respectfully ask why you are (or are considering ) using lenses that have variable f-stops and especially such slow ones for motion picture work?
Does the lens have manal aperture?
I am also curious about this...
Does it indicate that you are in some "auto" function or mode?
Just asking.
May I respectfully ask why you are (or are considering ) using lenses that have variable f-stops and especially such slow ones for motion picture work?
Does the lens have manal aperture?
I am also curious about this...
Does it indicate that you are in some "auto" function or mode?
Just asking.
Shooter
Veteran
Seriously?
Colinelves
Well-known member
Not for motion picture work (by that I read drama or commercials) but definitely for docco work, especially run and gun. Personally I think it is ridiculous to use a S35mm chip for such projects, but it seems to be de rigueur these days with the C300 being the camera of choice for many TV production companies here in the UK.
One of the main issue being the difficulty maintaining focus on a moving and unpredictable subject when dealing with the razor thin DoF you get on such cameras (2/3 inch or 16mm - the traditional camera choices are much easier to work with).
Quite apart from that, however, are the compromises in terms of optics needed. As far as I'm concerned, if you're shooting run and gun you need a zoom with a large range otherwise you run the risk of missing something important either because you're on the wrong lens (i.e. it's too far away and you're on a wide zoom, like a 24-70 or it's too close and you're on a tele zoom like the 70-200) or you're busy changing lenses to try and get it, but it's already over by the time you've done this..
In 16mm this isn't a problem the The Canon 16mm 11-165mm f2.5 is a nice fast, light weight lens with a nice big range from wide to tele. In 2/3 Inch broadcast this isn't a problem, The Canon Canon HD HJ22x7.6, again, is a nice, fast, light weight lens with a big zoom range. You can stick these on a camera and never really have to worry you're going to miss something important.
In comparison, with S35mm it seems it's simply not possible to produce a decent zoom lens that has a large range yet is both fast and light weight: The Fujinon cabrio 19-90 is a very nice ENG style lens that is fast and lightweight, but it doesn't have a big enough range for docco work (19mm is okay at the wide end, but 90mm is just not long enough). The Angeniuex Optimo 24-290 has a good range and is also fast, but it weighs a tonne: you could never use it hand held for docco work.
So that means the only viable compromise is on the speed (and, to a certain extend, the quality). 18-200mm is a good range, good enough for run and gun. The compromise is that it's not fast and has a variable f-stop. But, in general, I find this is rarely too much of a problem since in most cases S35mm chip cameras are pretty good in low light (so the slow speed doesn't have too much of a negative impact on image quality) and I'll shoot stopped down anyway as the extra DoF helps when trying to keep the subject in focus.
I would also point out that the very expensive lenses I mention above also often have variable apertures - losing a little on the stop at the long end is pretty common in long range zoom lenses, the Optimo aperture is T2.5-2.8, likewise the HJ22 loses a stop at the long end, so I'm none too sure why you're being so snooty about that!
So, yes. Variable stops are a compromise, but I think it is a much better compromise than potentially missing something important because you've got the wrong lens on!
Yes.
cuervo
Veteran
what he said....seriously! In fact, I have some declicked zeiss primes, but, I find that I never use them. And, when I shoot from sticks, which is really my favorite mode, I run a follow focus and whip, which allows me to pull focus and pan my camera, all at the same time. If I have the light(usually outdoors on location) I like to shoot at f/8, giving me more DOF than wide open, it's a lot more forgiving. If you can play the piano, you can walk and talk, too. I, generally, don't like to zoom, live, so, once the shot is set up, it's de riguer. And, I almost always have a ND filter stack. It's brutally bright here in NM.
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Jim Ritscher
Well-known member
Thanks.
I routinely take two cameras, my FS-700 and my EX-3, to a location where I'm shooting an interview, B-roll, and perhaps some spontaneous material as well. I feel there is no substitute for the EX-3 with its zoom range and no depth of field issues. I don't charge the client more as I'm basically maintaining the quality of my work re: focus issues and capturing the spontaneity of the moment.
I just finished shooting a feature doc with my EX-3. That camera lives on.
I started working with my Sony A77 for shooting B-roll in tight quarters. It's such a delight because it weighs nothing and allows me to move really fast.
Different cameras for different jobs.
I just finished shooting a feature doc with my EX-3. That camera lives on.
I started working with my Sony A77 for shooting B-roll in tight quarters. It's such a delight because it weighs nothing and allows me to move really fast.
Different cameras for different jobs.
cuervo
Veteran
I have an older EX1, which is great for a more "filmic" look. My EX1 is a little softer, not quite the exquisite sharpness of the lenses I can use on my FS700. But, the softness is kinder on skin detail, the talent seems to like that. And, the EX1 has a lot fewer issues with color anomalies, just a lot more user friendly, with 10-bit out of the HD-SDI port. I wish I could record to DNxHD on my O7Q with this cam. DPX is just unuseable. But no matter, I use a PIX240 on the EX1.