George Loch
Well-known member
What are your go to lenses on the C200 for interviews and general b-roll?
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C200: Go to lenses
- Thread starter George Loch
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Run&Gun
Veteran
Asking for just the C200 may limit your responses. Seems like a more general, specific-camera-model-agnostic question to me that could be applied to any similar s35 sensor camera.
That being said, my two most used lenses for interviews are the CN-E 135 and 85, followed by the 17-120. Although the zoom has been seeing a lot of interview action, lately.
That being said, my two most used lenses for interviews are the CN-E 135 and 85, followed by the 17-120. Although the zoom has been seeing a lot of interview action, lately.
George Loch
Well-known member
I mention C200 for the Super35 sensor ratio really. I often use a 70-200 combined with an 85, but I have wondered how many use something like the Sigma 18-35?
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Dustin Svehlak
Well-known member
I recently used my C200 with the Sigma Art 18-35 1.8 and my EOS R with the Sigma Art 50mm 1.4 as a pair for shooting interviews on the below video. I'm pretty happy with how it came out although my lighting on the indoor interview for the C200 angle was a little iffy and I also had to reframe that shot a bit (project was shot UHD and exported at 1080 so I didn't lose too much on overall sharpness).
alaskacameradude
Veteran
I shoot super 35 (but on a Sony not a Canon) and I love the Sigma 18-35 for wider interviews.
I actually really like the older (smaller) Sigma 50-150 (which is the lens that is rumored to be
the basis for the Red 50-150 zoom) for interviews when I am going tighter. It sort of depends
what type of look I am going for in the interview.
I actually really like the older (smaller) Sigma 50-150 (which is the lens that is rumored to be
the basis for the Red 50-150 zoom) for interviews when I am going tighter. It sort of depends
what type of look I am going for in the interview.
brettsherman
Well-known member
Canon 17-55 f/2.8 for when I want a fairly shallow depth of field. Works well for interviews too. When I'm in a chaotic scenario and need the maximum zoom range (but still good image quality) I go for the Canon 15-85mm f/3.5-5.6. In certain scenarios, I use the Sigma 18-35mm f/1.8 also - though no IS so it's not great for handheld. I'm intrigued by the 50-100mm, but haven't decided how committed I am to Canon in the long run. If only they made a half-decent mirrorless for video... Sigh.
For B-roll, I find that in order to make cuts you have to have enough difference in Angle of View. So on the 17-55 I have basically two options, 17 or 55. For the 15-85, I get about 3 options, roughly 15-45-85. On the Sigma, there isn't enough difference between the 18 and 35 to make a cut. Maybe if you crop in the 35.
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chris f
Veteran
Something to keep in mind with this lens is that when shooting raw (17x9) this lens often vignettes in the corners of the frame when you're on the wider end of the lens - and if you have image stabilization on it becomes even more noticeable. This is because in raw it uses more of the sensor (closer to a 1.5 crop instead of 1.6) The amount it vignettes seems to vary from copy to copy of the lens. Mine was so bad even in 16x9 UHD that I had to get rid of it (used to be my favorite lens), however my friend has the lens and never shoots raw on his C200 and has no vignetting problems at all.
Dustin Svehlak
Well-known member
I haven't checked on the C200 but at least on the C100, there was an EF-S Mode that would compensate for this (it crops in just enough to cover wider EF-S lenses). I wonder if your friend's C200 has this mode engaged with the lens and that's why he doesn't see the vignetting?
Run&Gun
Veteran
I'm sure you know, but that lens was designed to cover a Canon APS-C sized sensor, which is smaller than a s35 sensor. So if someone has one that does cover completely without any type of compensation, it's probably just "luck of the draw" with their copy of the lens.
chris f
Veteran
For those interested we covered this topic pretty in depth in this thread: http://www.dvxuser.com/V6/showthrea...r-C200&p=1986742676&viewfull=1#post1986742676
Stills2HDConvert
Well-known member
Thanks for keeping me from repeating myself, Chris.
You're a way better search engine than Google or the ones in the forums.
Dustin Svehlak
Well-known member
Very interesting... I have that 10-18 zoom and although I've only shot UHD with it, I've never seen vignetting.
puredrifting
Major Contributor
C200 has EF-S mode but only for UHD shooting, NOT for DCI 4K. Doh, another inexplicably limiting move that was built into the design of the C200. We really need that feature more when shooting 17:9 DCI with EF S lenses, right?
indiawilds
Veteran
I need quick zooming so primes become a challenge. The 70-200 f2.8 II is a great lens. However, most of the times the small rooms ensure that I am more into 24-105 or 24-70 lens. Wanted to buy the CN_E 18-80 but the thought of not being able to use with my full frame 1DXII and the trend of full frame cameras made me drop the idea. I think slowly people will move away to RF lenses (with/without adapter).
Camera: C300mk2, so same sensor as C200.
It really depends on production needs, but generally I use prime lenses for interviews and zoom for B-Roll.
The below is for single cam interview only, for multicam it's different.
Canon 24/1.4L II, 35/1.4L II or 50/1.2L, occasionally 85/1.2L II
35mm gets used the most. These days I often find myself wanting a 28mm prime for interviews...
Occasionally if zoom is required for interviews Canon 24-70/2.8L II, or Sigma 18-35/1.8 Art as a variable prime.
Used to shoot a lot of interviews with Sigma 50-150/2.8 OS, but more and more directors prefer the look of a wider prime, particularly with 4K for HD delivery where they can zoom in post. I almost never use 70-200/2.8 on interviews, it's too long for single camera work. But for B-cam it gets used.
B-Roll: Sigma 18-35/1.8 Art + Sigma 50-100/1.8 Art, if light levels allow f2.8 then 24-70/2.8 gets used, and so does 70-200/2.8, and Tokina 11-16/2.8 too.
That's the usual suspects. I shoot a lot with different lenses too, both EF and PL, spherical and anamorphic. But figured these might be the most useful to mention.
puredrifting
Major Contributor
Yep, agreed. My copy is unusable when shooting RAW, usable when shooting UHD but you still see the vignetting, even with the EF-S setting in the C200 turned on. I have to say I bought the EF 24-105mm f/4.0 IS II, thinking it would be the FF replacement for the 17-55 to get rid of the vignetting in the corners, but I really dislike the 24-105 for some reason. Part of it is the size and weight, it's a lot heavier than the 17-55 and part of it is it isn't wide enough for my style. I thought the IS II version would satisfy me, I always HATED the V1 of the lens but the VII isn't that much better. Why can't Canon make a real full-frame EF 18-135 STM IS? Better made, fixed (truly fixed aperture f/3.5) and charge $1,500.00 for it, I'd be all over that. I love the EF S 18-135 STM IS I have but it also vignettes too much on the C200. It's also built crappy but that focal range is IT for run & gun S35. And no, I can't afford the money or the back surgery for the 17-120 ;-)
Dustin Svehlak
Well-known member
I have found the 24-105 Canon L to be very soft. I had the Sigma Art 24-105 and it was actually great on the C200 but the image stabilizer freaked out when used on my EOS R and so I sold it for the Canon 18-135. Jury’s still out on that lens for me but I like the power zoom function and I’ll mostly be zoomed in during live events so it should be a better solution.