Kit lens "Yea or Nah"

Just take 2 steps back and save your self a couple hundred bucks LOL

I havnt had any issues framing but I'm also not crazy about wides or establshing shots, so it may not work for your style maybe???
 
J. Odoms said:
But how does it perform with a follow focus rig, such as the RedRock Micro follow focus system.
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I'm not sure it does. It's focus ring is on the lip of the lens and is very thin. I thought it would be hard at first but it was real easy to pull focus by hand.
 
J. Odoms said:
Although it becomes a friggin 80mm on the 7D
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No it doesn't. The lens doesn't magically change into an 80mm just because it is on a crop body. The field of view compared to a FF sensor is the only difference, and I'm going to go out on a limb here but I am going to assume if you are buying a $100 lens you probably have never shot full frame anyway so the field of view difference literally means nothing.
 
sblfilms said:
I'm going to go out on a limb here but I am going to assume if you are buying a $100 lens you probably have never shot full frame anyway so the field of view difference literally means nothing.
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Nah you are right, I have not shot on a FF sensor, but was, apparently, misunderstanding the cropping factor.

So please enlighten me, regarding different lenses.
 
The only thing you need to know is that you aren't shooting on a FF sensor so you don't need to think about it. Your 50mm lens is still a 50mm lens, go make some movies :grin:.
 
Here we go again. If you want a MCU, you will have to set your 7D two steps (or so) farther back than you would set your 5D using the same 50mm lens on both cameras. Like Johnny said...two steps back.
 
Thats crazy because of all this talk about it being on the 7D and multipliers. 1.6, yada yada yada, I have passed up some pretty great deals and such just because of my miss understanding, but alas it is corrcted. I'll just have to make due.

But from what I saw with P. B.'s video comparing the rolling shutter of the MK2 and 7D I did see what you mean by taking a couple steps back for the smae lens. But still all-in all that FF feature of the 5DMK2 looked great. Especially when we see him compare the candle. the framing of that shot just looked better than the one with the 7D.
 
He didn't back up two steps with the 7D. ;-)

The problem is when you are shooting in a small space (like a typical office) and want a wider shot. When you run out of room to move back with the 1.6 crop's 50mm view, you have to go with a wider lens (I have a 28mm for just such an occasion) or settle for a closer shot than you wanted.
 
See now this makes wayyyyyy more sense. We should attmpt to stop people from posting all of their ho hum thoughts regarding this type of system, because it can confuse people, and when I say people I mean me, LOL.

I completely get it, now, and that was so simple to explain. MHood, you are Legend.

So i'll probably order a

Sigma 30mm F1.4

that Canon 50mm F1.8 that was mentioned earlier

and a Tokina 11-16mm F2.8

coupled with my kit lens, and should be good to go.

Until taxes when my wife releases me to spend some more cash.
 
J. Odoms said:
MHood, you are Legend.
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In my own mind maybe... LOL! Sounds like a sweet set of lenses to me.

I went with:

28-135mm kit lens
50mm EF 1.4 USM prime
28mm EF 1.8 USM prime
Tamron 17-50 2.8 zoom

I couldn't afford the Tokina but I sure wish I could.
 
For shooting movies, the new Tamron 17-50 seems to be the best all around lens.
The problem you will run into using primes from different manufacturers is your video will look like it was shot with different types of lenses and or cameras, including different color, light, CA and distortion. Have fun in post matching it all up. Just ask people who've used 35mm adaptors on video cameras what many of them went through.

That's one of the reasons why 'matched' primes for professional cinema cameras are so expensive.
Zeiss not only garauntees their primes will match, but their zooms too (intercut between any of them).
 
zeke said:
For shooting movies, the new Tamron 17-50 seems to be the best all around lens.
The problem you will run into using primes from different manufacturers is your video will look like it was shot with different types of lenses and or cameras, including different color, light, CA and distortion. Have fun in post matching it all up. Just ask people who've used 35mm adaptors on video cameras what many of them went through.

That's one of the reasons why 'matched' primes for professional cinema cameras are so expensive.
Zeiss not only garauntees their primes will match, but their zooms too (intercut between any of them).
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Interesting, I actually never thought of that little tid bit. So by your logic if I go with all Canon glass it will be a more evenly dispersed image, than changing lens comp to lens comp. But how about Canon EF lenses vs EFL's, how does that factor in.:huh:
 
Even among the same manufacturer when it comes to primes. In still photography, this is a non issue. You want lenses that give you distinct characteristics, different from one lens to another. For video, you don't. The Canons will match up better between them, but not as well as ones designed for cinema. A good zoom reduces that problem, and the last couple of years, zooms have gotten quite good resolution wise.

Also, when I referred to Zeiss, I was talking about the cinema lenses, not stills. I don't know how their still lenses match up.
 
zeke said:
Even among the same manufacturer when it comes to primes. In still photography, this is a non issue. You want lenses that give you distinct characteristics, different from one lens to another. For video, you don't. The Canons will match up better between them, but not as well as ones designed for cinema. A good zoom reduces that problem, and the last couple of years, zooms have gotten quite good resolution wise.

Also, when I referred to Zeiss, I was talking about the cinema lenses, not stills. I don't know how their still lenses match up.
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It actually can happen within the same lens. There are some that are soft wide, then get really sharp, then get soft again, then sharper at the longer focal lengths.

Also, remember, breathing is a factor as well. Many photographic zooms are huffers.
 
Michael Olsen said:
It actually can happen within the same lens. There are some that are soft wide, then get really sharp, then get soft again, then sharper at the longer focal lengths.

Also, remember, breathing is a factor as well. Many photographic zooms are huffers.
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Yes, but I didn't want to discourage people too much :).
 
mhood said:
I went with the kit. Why not for $200? IMO, you might think about the 50mm 1.8 Prime ($100) for your indoor low light work. Why not for $100?
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IMO lens #1 ( Kit lens ) then lens #2 Canon 50mm 1.8 is a
no brainer. Cheap, easy to use and not a lot of buyers
remorse of you chuck either into the tipsy dumpster
if and when you replace them. It's lens #3 that's the
real challenge. My #3 was the Tokina 11~16 2.8. Cost
almost as much as the camera ( T3i ).
 
I don't think that's going to be very helpful, two years later... but hey, you never know who ends up stumbling into these threads!
 
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