FS7: So what IS the OMB ENG solution..

morgan_moore said:
Yep - looks a bit wooly, but you can also really see the camera op is hoovering up a load of coverage :)
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You pays yer money and takes yer choice.

Personally I think that solution is too soft for contemporary corporate work but I don't have to pay the bills anymore.
 
Nirv, Im not disagreeing on the evidence currently presented. I don't find it conclusive however :)

--

Mark - Im harrassing Tommy - thanks :)
 
no problem... I completely understand where you are coming from...I just had me a good laugh again re-reading thru that thread. I was harassed for wanting the ability to hit record while composing my shot while zooming with the kit lens - which I guess you can't do . It made me realize that many "doc shooters" had a total different relationship with their camera & lens than what I was accustomed. (where getting the shot was of utmost importance)
 
morgan_moore said:
Nirv, Im not disagreeing on the evidence currently presented. I don't find it conclusive however :)
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And I'm not trying to brow beat you into submission.

There is absolutely no right answer just trying to align as many pros with the compromises you can live with and those are entirely personal choices. You want to get it right, I understand that.
 
I have a feel that this probably actually turns on the 2/3 lens. And on those lenses I am ignorant. There seem to be options from £300, to £3000, (used)

Also having nouse to stop down a little - consider it 5.6

So far the mid point of price and 4-5mm start seem to be on my radar.

S
 
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morgan_moore said:
I have a feel that this probably actually turns on the 2/3 lens. And on those lenses I am ignorant. There seem to be options from £300, to £3000, (used)

Also having nouse to stop down a little - consider it 5.6

So far the mid point of price and 4-5mm start seem to be on my radar.

S
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The £300 B4 lenses you find on eBay are SD they'll be super soft with loads of aberrations and a waste of money. Look for canon lenses with HJ in them, they're HD.
 
Grug said:
B4 lenses through an optical adapter seems like madness to me, especially when there's good S16mm glass out there with similarly large zoom ranges, and none of the complications that B4 lenses offer on a single sensor camera.
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But I am correct that few to none of those S16 zooms are servo zooms?


"I have a feel that this probably actually turns on the 2/3 lens." Was it an "HD" 2/3" zoom, as much as such a thing exists and isn't just marketing?

The guys I know who are using B4 lenses on s35 are using their HD 2/3". Maybe the sample video was using a cheap SD zoom of the sort which can be had used for under $2k.


A short doc style piece shot with a B4 lens on an F55-

https://www.youtube.com/watch?v=VFPrashJZS4

As far as optical quality, I know guys shooting for ESPN and Fox Sports on an F5 with b4 adapter & HD ENG lens. But that said, some of the sports networks were still shooting in 720p as late as this past Fall. If I already owned an HD B4 zoom, I would probably get the adapter and use such a setup. But I don't own an HD B4 zoom and I also am not wild about the idea of taking a step backwards optically. Not with more clients wanting 4K for cropping purposes and stabilization purposes.



I think the only OMB lens solution you are going to be fully happy with, Morgan, is the Canon 17-120mm. Prices for a pre-owned 17-120mm have dropped to around $25k. The lens isn't that heavy or unwieldy. I've shot with it and found it makes shooting with the Fs7 comparable to an HDX900 or Sony 700. The set up is heavier and larger than shooting with Canon L zooms or the Sony kit zooms, but we've been a bit spoiled with the svelte nature of such setups. The 17-120mm / Fs7 pairing is just going back to what many of us were used to all along weight & size wise. And there is that benefit of a beefier camera where your shots are super-solid due to the weight of the camera, especially long lens. Which is why we never much needed or wanted the IS that so many guys on these fidgety little C300-type cameras want.



Nirv has gone dash-less, folks.
 
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I also don't understand what kind of productions have an all day non stop rolling. There are segments throughout the day that require uninterrupted capture and you know they are coming and you know when it's over and you prepare accordingly.
 
I've used B4 lenses on Panasonic AF100 and Sony F3. At the time some five years ago I found it gave me great reach but also a huge loss of light using the doubler and especially on the F3 with an optical adapter that further reduced light. Image quality did also suffer at the edges with softness and sometimes out of focus looked a bit weird.

Looking back and then looking at what can be done with the FS7 in center crop mode today I believe B4 lenses makes a lot more sense on the FS7 than my experience with the AF100 and F3 did.

On the other hand if I had the need today to really make use of B4 style shooting I'd might consider something like the Sony Z150 a better option.
 
icarusfilm said:
I also don't understand what kind of productions have an all day non stop rolling. There are segments throughout the day that require uninterrupted capture and you know they are coming and you know when it's over and you prepare accordingly.
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OK British Athletics. Running races. The winner will cross the line with arms aloft, you need a 200ish for this shot ideally HFR, they then take 8-10 steps into the pit and hug someone or collapse on the floor right at the feet of the operator, people crowd round them, you need a 14 and sharp elbows for this shot - you then hit them with 'tell me about your run' on a 20 - and you hit them with the question while they are still completely out of breath, 10 seconds later - speed is all to keep the intensity.

It is not about rolling for a long time - it is that these 3 critical moments happen within 20 seconds of each other.

Doing this event work I actually had a go-pro on the top of my FS7 and actually quite a lot 'made'
 
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