List of great EOS lenses

dav said:
My question is, won't the higher ISO settings on these cameras, (7d) yield that far end of stop even though some additional grain and noise is introduced?
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Higher ISO settings on the t2i or the 7d make the sensor much more sensitive to light but you start to notice the grain more and more as you go past 1000

To some extent you can beat this by shooting at 1080p then downscaling to 720p before you uplad to vimeo (assuming thats your destination). Its the final result that counts and its all down to personal taste really.

dav said:
What lense do you recommend for the rest of the ranges, below 17mm and above 50?
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Oh lordy .. this really depends on your cash flow. For below 17 there is only one lens in book and thats the tokina 11-16. Because I shoot nikon manual lenses I use the 75-150 f3.5 and the 50-135 f3.5 for my longer lengths but I shoot narrative shorts not documentary. I'm guessing you might want canon autofocus. If you have the money get a 70-200 f2.8L or the slightly cheaper 50-150 f2.8 Sigma but its still a bit pricey.
 
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One thing I think would be cool is to do a similar list with lens that need adapters. I'm looking into getting lens' with adapters as I've been seeing some for cheaper. Just got a Helios 44m for $25 with a $10 adapter, great lens to play with for a great price. However there is so much out there I'm not even sure of which direction to go to or what prices across the board look like (or which ones will fit).

Just a suggestion.
 
grantw said:
One thing I think would be cool is to do a similar list with lens that need adapters. I'm looking into getting lens' with adapters as I've been seeing some for cheaper. Just got a Helios 44m for $25 with a $10 adapter, great lens to play with for a great price. However there is so much out there I'm not even sure of which direction to go to or what prices across the board look like (or which ones will fit).

Just a suggestion.
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I hear you man as I shoot mostly with old manual nikons.
You want these threads, this thread is just for EOS

lenses with character
http://www.dvxuser.com/V6/showthread.php?t=201760

vintage lens thread
http://www.dvxuser.com/V6/showthread.php?t=201760

nikon adapter quality - are some better than others
http://www.dvxuser.com/V6/showthread.php?t=182477

and more out there too!
 
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J Davis said:
... and be wary of the term 1.6 crop factor !!

A lot of sites that review still lenses will state that because of the 1.6 crop factor you will need a 15mm to get the equivalent of a 24mm on full frame.

IMO it is important to stop comparing to Full Frame!!

There is no point saying 'use a 15mm to get the equivalent of 24mm' as this makes no sense at all when it comes to making movies.

When I said above that 24mm, 35mm and 50mm were common focal lengths used in film making I was referring to the field of view that you would get
when using these focal lengths on super 35 film (ie most hollywood blockbusters)

Now super 35 film is almost identical in size to the aps-c sensor in the 7d and the t2i. So if you put the t2i kit lens on a t2i and shoot at 24mm, 35mm and 50mm
you will be getting approx the same field of view that a hollywood movie would be shooting as if they were using those focal lengths on super 35 film.

So don't compare to full frame. Its pointless. No hollywood film is shot full frame.
You will only confuse yourself.

Use 24mm, 35mm and 50mm focal lengths on a (7d/550d/t2i) aps-c sensor and familiarize yourself with the field of view.
Then you will then be spot on.



For reference look at these rental PL mount Zeiss Super Speeds and look at their focal lengths
http://www.fletch.com/rentalzeisssuperspeed.html
and here is another one but this time with rental rates
http://www.abelcine.com/store/35mm-Prime-Lenses/?page=2

For reference

http://en.wikipedia.org/wiki/Super_35
super 35 four perf film is 24.89mm × 18.66mm

t2i
aps-c sensor 22.3mm x 14.9mm

7d
aps-c sensor 22.3mm × 14.9mm

now compare the width, as you can see its a pretty close to 1:1 so zero crop factor.
1.6 crop factor is for still photography, are we not filmmakers? :thumbsup: :beer:


Still Photography Film
Full Frame Still Film is 36mm x 24mm

Movies Film
Three Perf Academy 35mm is 22mm x 12mm
Four Perf Academy 35mm is 22mm x 16mm
Three Perf Super 35mm is 24.89mm x 14mm
Four Perf Super 35mm is 24.89 x 18.66mm

Digital Full Frame DSLR (canon 5DM2)
36mm x 24mm

7d and t2i
22.3mm x 14.9mm
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I want to make sure I'm understanding this... you guys are saying there is a 1.6x crop factor when comparing a full-frame sensor with a aps-c sensor in terms of photography... and also in video. But since the aps-c sensor size is so close to 35mm sensor size, we don't need to use the 1.6x crop factor when selecting lenses. Meaning, if you shoot video with a 50mm on a T2i/7D, it's almost the same as shooting with a 50mm lens on a 35mm film camera? So does that mean the only ones at a disadvantage are the people shooting with full frame sensor cameras?

Sorry, but I need to be sure since this runs contrary to what's being posted everywhere else including other sections of this forum. Not having to add a 1.6x crop factor would really simplify things and save me some dough.

Thanks a bunch.
Reb
 
RebwaCause said:
I want to make sure I'm understanding this... you guys are saying there is a 1.6x crop factor when comparing a full-frame sensor with a aps-c sensor in terms of photography... and also in video. But since the aps-c sensor size is so close to 35mm sensor size, we don't need to use the 1.6x crop factor when selecting lenses. Meaning, if you shoot video with a 50mm on a T2i/7D, it's almost the same as shooting with a 50mm lens on a 35mm film camera? So does that mean the only ones at a disadvantage are the people shooting with full frame sensor cameras?

Sorry, but I need to be sure since this runs contrary to what's being posted everywhere else including other sections of this forum. Not having to add a 1.6x crop factor would really simplify things and save me some dough.

Thanks a bunch.
Reb
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No, the difference is that when you hear 35mm mentioned in film, it is referring the the S35 or Super35 frame size and NOT FullFrame 35mm, also called FF35 by some.

I believe S35 is actually closest to the 1DM4 sensor, APS-H I believe. But, the APS-C is REALLY close.

http://en.wikipedia.org/wiki/Super_35

I *believe* If I recall correctly (and someone please correct me if I am wrong) is that the difference is that a FULL FRAME camera would actually place the image on the film horizontally instead of how the S35 does vertically

http://en.wikipedia.org/wiki/35_mm_film

(The vistavision diagram is an example of what I am talking about).

This is why people get confused because HOW you use that 35mm film makes a HUGE difference.
 
@Rebwacause - I sent you a PM with some reading links

@Grimepooch
Just talking width as we would crop the height to get to a film aspect ratio, it is interesting to note that the 7d/t2i is 3mm short from s35 and the 1dm4 is 3mm wider! LOL
I think the t2i might be half a millimeter closer but that would be splitting hairs!
Both cams are pretty good IMO but the macro blocking is killing me.
1d mark 4 is 27.9mm × 18.6mm
 
J Davis said:
BTW - The old camcorder trick of zooming in to get focus and then zooming out doesn't work on vDSLR's because most still lenses don't hold focus thu the zoom range
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I think that even the still lenses that are designated as parfocal don't hold perfectly through the zoom. I could be wrong, but I do think that that you can have a parfocal lens calibrated to be optimized for a particular camera model.

Does anyone know a tech who is good at this type of calibration?
 
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J Davis said:
@Rebwacause - I sent you a PM with some reading links

@Grimepooch
Just talking width as we would crop the height to get to a film aspect ratio, it is interesting to note that the 7d/t2i is 3mm short from s35 and the 1dm4 is 3mm wider! LOL
I think the t2i might be half a millimeter closer but that would be splitting hairs!
Both cams are pretty good IMO but the macro blocking is killing me.
1d mark 4 is 27.9mm × 18.6mm
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what is macro blocking?
 
Wow, that is quite a problem there. Looks great on the greenscreen. I notice you mention mpeg at scarlet user. I was only aware the 7D could produce H.264. Am I missing something there?

Bu thanks for the heads up. I have TONS of greenscreen stuff I am doing for my film. Might hold off on just those parts and shoot them with the 2/3 scarlet then. Unless you find a nice solution! :)
 
Any reason the sigma 30mm 1.4 isn't on the list? Seems like an obvious choice for a standard prime on this camera.
 
studio1972 said:
Any reason the sigma 30mm 1.4 isn't on the list? Seems like an obvious choice for a standard prime on this camera.
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mentioned at the bottom of post 3
along with two other sigma's !


edit: but this reminds me of the sigma 50mm f1.4 which is the excessive luxury 50mm prime coming in at $500, I've noticed that this one seems more popular with the still photographer
 
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Yeah, the 30mm F1.4 Sigma is a REALLY good lens, hands down. The image through it is beautiful.

You all might not be aware, but Sigma has announced a 85mm F1.4 which will be going into my kit when it is released WITHOUT question.
 
J Davis said:
@Rebwacause - I sent you a PM with some reading links
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PM? What's that about? Keeping secrets? :laugh:

Actually, I know it's a bit off topic for this thread, but I would really like to know the answer to that question as well. Care to share those links with another?

Thanks!

Eric
 
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