FS7: If you could only use one prime lens on your FS7, which would it be?

Yes Doug I'm shooting reams of stock footage, and following all the advice in your excellent series, "How to Make Money Shooting Stock Footage:" https://vimeo.com/ondemand/sellingstockfootage

Have you considered a series on the fundamentals of shooting motion pictures? I gleaned a lot from just one picture of you tracking a SpaceX launch from Paul Cronin's excellent website. That along with a morsel of advice where you said you personally pan/tilt with a higher frictional drag was indispensable to me for smooth operation with a longer lens. I've done it ever since.

The T2.9 Red 300mm PL Pro Prime I am leaving attached to the F55 for an extended time because it's training me to see things differently, hopefully in a more interesting way, often combined with slow motion effect. Always having the usual composition framed in accordance with rule of thirds sometimes results in a conventional sameness, footage that doesn't stand apart, but the 300mm can alter the mood to tell a different story than what was actually happening. For example, the clip of the child's play was nothing more than kids bouncing around as kids do, but slowing it down, the tight framing without foreground/background distractions; we drift into the recollections of childhood as seen through the eyes of a child. Mira told me, "Please don't use any more sad music. It made me cry." I thought to myself, if she saw that we we're seeing the same thing, the clip was a success.

If she is aware of being filmed, she doesn't like it. This is another area where minimizing the subject's awareness and extending the length of a brief special mood through slow motion really helps with the Red 300. By the way, I can't use the clip of Sebastian for stock footage because his shirt bears the MLB logo, a subject you covered well in chapter 5, Preventing Rejections Before They Happen.

And Paul, I wish I had the rich environment to shoot Ospreys that you and Doug enjoy. It would be difficult to do that well even under ideal conditions. The best I have managed in the semi arid west is to film Falcons of the military fighter jet variety. Fast moving, getting them into the frame and focused while tracking is the kind of practice I work on to be ready for an Osprey moment should I have the good fortune. I actually sight along the handle to bring the object into the frame before switching to the viewfinder. I avoid the term "target" as I was already warned (politely) by military base police they could confiscate my equipment if it included images they deemed sensitive.
 
Off to the desert badlands of Utah, carting the F55 in a Pelican case mounted to the back of Honda Recon ATV, and a Kessler K-Pod strapped to the cargo rack up front. This is the best way I can transport these beasts to the areas I want to film with the Red 300mm. The hope here is the 300 continues to train me to see the world differently, not in the usual panoramic landscape way which would be futile anyway due to heatwave mirage, but up close in a more personal way, the desert features and wildlife.
 
Hey Tom, watch out! You might be picking up too much of my habits for your own good, but I'm glad that my stock footage video has inspired you. The funny thing is that producing it inspired me to work even harder at stock myself. I've just uploaded almost 500 more clips in the past four weeks. I had never really crunched the numbers like that before, but now that I see what I'm earning by the hour, I'm much less inclined to take jobs anymore that I know I'm not going to enjoy. Why bother? I'd rather go shoot stock.

Where are you headed in Utah? As an ex-Utahn myself I try to get back out there almost every year for shooting, hiking, and maybe spend an hour or two with family if my wife makes me. We'll be headed out there again this fall as part of a 10,000 mile road trip from FL to Maine, to Yellowstone, to Seattle, down the coast, some stops in Utah, and eventually back to FL before cold weather closes things down. I'm really looking forward to getting back on the road. It is the carrot in front my face that keeps me moving forward.
 
Tom,

Great post and nice to hear how you are loading up on stock. Doug, really inspired me also and I have talked my current stock company Nature/Ocean Footage, to now represent me as royalty free, so I can move the same clips to my account at Shutter Stock and Adobe.

Thanks for checking out my site Tom. Just built a new one in February and it is always a work in progress, with so many aspects to my business.

Just need to get a few boats in the water and finish two commercial jobs then will push hard on stock this summer. As Doug says it is fun.

The Osprey were at a location Doug recommended in FL when he was home editing. Have a fun clip with his 300 of one in a tree eating a fish. 300 gets right in there. It still has not sold, but will look over the info to make sure it is properly targeted. We also have about 12 nest on our island where they just came back two weeks ago, from their winter trip.

Thanks Doug for getting me going again on stock. And keep rolling Tom.
 
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You're very welcome Paul.
Wildlife is fun to shoot, but unfortunately it doesn't sell very well. Not too many people are looking for an Osprey eating a fish (I have that shot too!) or a pelican flying in slow motion or a deer walking in the woods. I suggest people look for things they have access to that others don't. In your case, I'd be shooting anything and everything I could that has do with sailing or any marine activity. What about boat builders? I know you have contacts there. if you can get releases from the workers you could get some bue collar shots that others can't get. You might think about going over to Wickford and talk one of those lobster boats into letting you go out with them for the day and shoot the hell out of it. Give them copies of the footage for "home movies" in exchange for signing releases (make sure to get a property release on the boat too). I always intended to that with one boat in particular, but never got around to it before i moved south. If nothing else, it would be an interesting experience.
 
Thanks Doug,

Great advice and I will concentrate on my industry this summer and grab what ever I can. Still thinking about the Z280 since it is a much smaller package then my FS7 MK2 on the water.
Weather has broken here very nice.
 
Speaking of the Z280, I've really fallen in love with that camera. The more I use it the faster and more comfortable I get with it and it's such a breath of fresh air having a nimble camera with a 17x lens and XAVC-I codecs. Quite often I find myself leaving the F55 in the van and shooting almost everything except interviews with the Z280.

Yesterday I participated in a 10-hour camera test and shoot out for an upcoming adventure-style reality show and the Z280 was very impressive. No charts for these tests.. The shoot was mostly handheld outdoors with talent to simulate the kind of situations that the show will face in the real world. The other cameras were PXW-Z450, Varicam LT, PXW-FS7 II, AU-EVA1, AG-CX350, Osmo Pocket Camera, Hero7 Black, PXW-Z90, BM Pocket Camera, GH5. The cameras were broken down into three main categories based on the type of shooting they'd be used for. Obviously a Osmo isn't going to replace a Z450. All (or most of the cameras) shot LOG and so the footage has been sent to LA for final grading and evaluation by the studio and network, but I look forward to hearing what decisions they make. I know what I would choose, but I'm biased!
 
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I really liked my EX3 and I guess I would enjoy the Z280. I don't think it would fit my clients but for stock footage yes.
 
Would love to hear feedback on this test, Doug.

Cheers,

Ben.

Doug Jensen said:
Speaking of the Z280, I've really fallen in love with that camera. The more I use it the faster and more comfortable I get with it and it's such a breath of fresh air having a nimble camera with a 17x lens and XAVC-I codecs. Quite often I find myself leaving the F55 in the van and shooting almost everything except interviews with the Z280.

Yesterday I participated in a 10-hour camera test and shoot out for an upcoming adventure-style reality show and the Z280 was very impressive. No charts for these tests.. The shoot was mostly handheld outdoors with talent to simulate the kind of situations that the show will face in the real world. The other cameras were PXW-Z450, Varicam LT, PXW-FS7 II, AU-EVA1, AG-CX350, Osmo Pocket Camera, Hero7 Black, PXW-Z90, BM Pocket Camera, GH5. The cameras were broken down into three main categories based on the type of shooting they'd be used for. Obviously a Osmo isn't going to replace a Z450. All (or most of the cameras) shot LOG and so the footage has been sent to LA for final grading and evaluation by the studio and network, but I look forward to hearing what decisions they make. I know what I would choose, but I'm biased!
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Doug Jensen said:
Where are you headed in Utah? As an ex-Utahn myself I try to get back out there almost every year for shooting, hiking, and maybe spend an hour or two with family if my wife makes me. We'll be headed out there again this fall as part of a 10,000 mile road trip from FL to Maine, to Yellowstone, to Seattle, down the coast, some stops in Utah, and eventually back to FL before cold weather closes things down. I'm really looking forward to getting back on the road. It is the carrot in front my face that keeps me moving forward.
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This trip was to White Wash, the sand dunes, Mary's Trail, Cold Springs, Ten Mile, some slickrock rim trails and hoodoo overlooks in the area bounded by Green River to the west, Crescent Junction to the east and Moab to the south. As you know, Utah is extraordinarily varied with colorful and dangerous desert slot canyons, high alpine champagne powder skiing, or full of emptiness just depending on how you view it. I never get enough. Other favorite areas include San Rafael Swell, Temple Mountain, Goblin Valley, and of course The Grand Staircase, Escalante, Bicknell, Torrey, Boulder, Trail of the Ancients and the national parks Zion, Capitol Reef, Bryce Canyon, Arches etc.

It was a proof of concept using a smallish ATV to get to and into remote narrow slots and tight trails. It was moderately successful but the elements of wind, wind driven rain and cold were fierce on this outing of six days and five nights. The equipment performed well however I need to refine some aspects, permanently affix the Pelican case to the rack. The tie downs were secure but time consuming, as was breaking down and reassembling the F55 components when I would get up and move. The Kessler K-pod was sturdy in the winds, but needs its own transport case. As it was, I put it inside an airline bag made for golf clubs which was fortuitous to capture a few fasteners that worked loose from vibrations. The legs created musical, Native American chimes in the wind which didn't matter this time but would have to be addressed if it did.

I have other camera systems far more convenient to use yet in the end, they don't have the "it" factor. The Red 300mm T2.9 Pro Prime often wasn't the right focal length but it did challenge me to see the world its way which was interesting. I committed to gamble for a few minutes of really choice video than hours of ordinary. There will be other opportunities.
 
Tom Roper said:
This trip was to White Wash, the sand dunes, Mary's Trail, Cold Springs, Ten Mile, some slickrock rim trails and hoodoo overlooks in the area bounded by Green River to the west, Crescent Junction to the east and Moab to the south. As you know, Utah is extraordinarily varied with colorful and dangerous desert slot canyons, high alpine champagne powder skiing, or full of emptiness just depending on how you view it. I never get enough. Other favorite areas include San Rafael Swell, Temple Mountain, Goblin Valley, and of course The Grand Staircase, Escalante, Bicknell, Torrey, Boulder, Trail of the Ancients and the national parks Zion, Capitol Reef, Bryce Canyon, Arches etc.

It was a proof of concept using a smallish ATV to get to and into remote narrow slots and tight trails. It was moderately successful but the elements of wind, wind driven rain and cold were fierce on this outing of six days and five nights. The equipment performed well however I need to refine some aspects, permanently affix the Pelican case to the rack. The tie downs were secure but time consuming, as was breaking down and reassembling the F55 components when I would get up and move. The Kessler K-pod was sturdy in the winds, but needs its own transport case. As it was, I put it inside an airline bag made for golf clubs which was fortuitous to capture a few fasteners that worked loose from vibrations. The legs created musical, Native American chimes in the wind which didn't matter this time but would have to be addressed if it did.

I have other camera systems far more convenient to use yet in the end, they don't have the "it" factor. The Red 300mm T2.9 Pro Prime often wasn't the right focal length but it did challenge me to see the world its way which was interesting. I committed to gamble for a few minutes of really choice video than hours of ordinary. There will be other opportunities.
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Wow, that sounds like a great trip. I must admit that I have traveled all over Utah but have never been to many of the out of the way places you mention. That sounds like a great adventure.
You are taking what I call the "Ansel Adams" method of shooting, where the goal is just a few very good images per day, rather than the machine gun approach of shooting everything you see. I like working both ways depending on my mood. BTW, I think you should record the sound of the tripod legs next time and release a new age CD.
 
Doug Jensen said:
BTW, I think you should record the sound of the tripod legs next time and release a new age CD.
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Haha, funny :laugh:

Many of the special places were shown to me by a dear friend who departed the surly bonds 7 years ago. I am now at the same age when he passed.

Had been scouting around most of the morning wondering about a saved waypoint not near any road, not near any marked trail, no description, just labeled number 007 on the Garmin gps. I had saved this spot for a reason, should check it out. But how to get there? Circled around, eventually finding a narrow single track that led to the ride we were on that day; it descended from a high overlook into a sand wash at the bottom of a canyon. As the chimes played so natural I didn't at first recognize where they were coming from. It even occurred to me it was just inside my head. I took what the scene gave and packed up, which by now was getting on late afternoon.

Moral, if you're out there alone long enough, the mind can play tricks.
 
Cynthia Webster said:
One Lens for a feature, eh? I'd pick an EF-mount Full-Frame 35mm Cinema Prime (for a camera with a S35 sensor)
and use a speed booster for switching between "normal" and close-ups.

On the other hand, I remember reading that "The Black Stallion" was shot almost exclusively with a 75mm prime...
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This exactly.... When I owned an FS5 I only ever shot with 2-lenses for my type of work. Canon CN-E 24/T1.5 and CN-E 85/T1.3 make a beautiful pair. I had both versions of the metabones 5th generation adaptors one with speed booster and one without which turns those two lenses into the following (with / without crop).

24/T1.2 - With SB
36/T1.5 - Without SB
85/T0.9 - With SB
127/T1.3 - Without SB

That is the beauty of a using Full Frame Canon (or similar) Lenses on Sony S-35 bodies with Metabones adaptors. I was able to get 4 effective focal lengths out of 2 prime lenses and very fast/beautiful ones at that. Having the flexibility to travel with 2 lenses and get 4 focal lengths was exceptional while I owned the FS5 and definitely something that I miss.
 
mcbob said:
Leica Summilux-R 35... with and without a SpeedBooster.

I know, I cheated. Sue me.
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I want a speedboosted Metabones that allows for the speedbooster lens to be moved in and out of the light path, like the doubler on ENG lenses. Shouldn't be that difficult of a thing to design and produce.
 
JPNola said:
I want a speedboosted Metabones that allows for the speedbooster lens to be moved in and out of the light path, like the doubler on ENG lenses. Shouldn't be that difficult of a thing to design and produce.
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Like the “crossover” unit in certain ENG lenses during the days of switchable cameras. And remember the even more “Oh My God That Costs How Much?” ENG lenses that had extenders and “crossover” units both built-in?
 
If I could choose any lens I would go with a Cooke Panchro/i Classic PL 25 mm T2.2. But if I could use a lens that I actually own, I’d go with my SLR Magic PL 25 mm T2.9 with which I’ve already shot a short film and many television spots in their entirety without additional lenses.
 
Thank you all for the thoughtful responses! Very interesting and helpful.

Currently, the prime I use the most is the Zeiss 35mm 1.4. It works out to about 50mm, which is a little tight in some spots and 100 mm with the Center Scan mode.

The one thing I do appreciate about lenses is how well they hold their value if well cared for. I will definitely check out some of these lenses mentioned here.
 
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