C100: CIne lenses for event work?

B

Burners

Well-known member
Any one use cine lenses (of any make) for run & gun event work? Maybe its just my podgy mit but the iris wheel is a uncomfortable position.
 
Run and gun with primes or a cine lens I would think would be hard. Do you shoot with primes for this kind of shooting? Cine lenses are heavier and are designed for more precise focus since the throw is longer. Same applies to the aperture.
 
The Cine lense is even hard for those run n gun film works, like small budget films, where you have to shoot quick and move quick.

So for Run n gun event, just forget it. the budget that client pays will not cover your rental/purchase fees of the lens
 
I would think a Domke vest with a 70-200 f/4 IS and a 24-105 mounted would do you lots better than the primes. I use the 17-50 Tamron until I can get me the 24-105. I don't feel like I'm lacking anything in my event work.
 
Eric Coughlin said:
Still Motion used Canon cinema lenses on the C100 for their Superbowl Feature which was run n' gun.

http://stillmotionblog.com/2013/02/01/super-bowl-feature/


I like to use primes for run n' gun, though I'll use zooms when I can't move around as much (such as during a wedding ceremony) or sometimes when I'm solo shooting.
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didnt you read their blog ? they have spent 90% of their times on pre-production, they knew exactly what shots they need once on set.

thats their confidence of using Primes.

My suggestion is dont even think about primes when you know nothing about the location

I suffer a lot of pains from showing up while know nothing about the subject of the shoot.

I own primes only, I suggest we go location scouting even for run n guns.
 
I read that blog post a few months back when it was first posted, and watched parts of the feature when it aired. Stillmotion tends to put a good amount of pre-production into their shoots, but it's still run n' gun. For the b-roll, they don't know exactly where their subjects are going to be, and they're not working with trained actors who are following cues on where to go.

For weddings, I don't need to know the location before showing up; I can show up and then decide what lenses I need (not that it hurts to know beforehand; often I'll do a Google search of the location if I don't go to the rehearsal). For preps, I can use primes because I can always move closer or further from the subject if I need to, and there's generally enough time to change lenses if I need to. For the ceremony, I use mostly zooms since I can't move around as much. For the reception, I use mostly primes (and maybe one zoom), but I have 3-5 cameras (with 2-3 shooters), which gives me 3-5 different focal lengths to work with, which is plenty.
 
event work to me means an ENG style lens, which doesn't seem to exist yet, at least not in this price bracket. canon mentioned they were looking into a power EF lens, and if they do something like sony's 18-200 power zoom, i'll nab that up in a second. until then, sometimes i use the 24-105, sometimes the sigma 18-250mm. neither is parfocal, but get's me by
 
If you focus the 24-105 at 105mm then pull out the lens is parfocal. Done this a few times with great results.
 
Erik Naso said:
If you focus the 24-105 at 105mm then pull out the lens is parfocal. Done this a few times with great results.
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when stopped down (on my copy at least), yes i can use it as a parfocal, but wide open or not much more closed, there's noticeable softness in pretty much all focal changes. though i have not sat down to test every situation.
 
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