Top 3 Lens for Cinematography for 5D Mark II?
- Thread starter JoeJITSU
- Start date
Moses Chisel
Active member
I,m surprised theres not much wide in there. It is a popular belief that for weddings the 'money' shots tend to be the wide ones.
If talking about zooms the Canon EFS 10-22 and the EF 24-105 work for me on the crop sensors and the EF 16-35 and the EF 24-70 on the full sensors
If talking about zooms the Canon EFS 10-22 and the EF 24-105 work for me on the crop sensors and the EF 16-35 and the EF 24-70 on the full sensors
JoeJITSU
Veteran
We are like only 2 years into the weddings. But your input is valuable. So what would a wedding videographer have for his or her top 3 lenses? or even 5 top ones
Moses Chisel
Active member
The answer to your question is dependent upon what style the customer wants. Sometimes just 2 lenses the 24/1.4 and the 14/2.8 are sufficient if the customer wants a Reportage or PJ style.
I dont think in terms of what are my top 3 lenses, then use them at a gig - I think in terms of what style has the customer called for, then I work out what lenses I need to bring.
You can gain great insight from examining the work of the top cats in the profession, people like Yervant, Joe Buissink etc also there is some nice stuff coming out of the Phillipines. Follow their blogs and get to know what equipment they are using if you like their style.
I dont think in terms of what are my top 3 lenses, then use them at a gig - I think in terms of what style has the customer called for, then I work out what lenses I need to bring.
You can gain great insight from examining the work of the top cats in the profession, people like Yervant, Joe Buissink etc also there is some nice stuff coming out of the Phillipines. Follow their blogs and get to know what equipment they are using if you like their style.
Alpha Beta Omega
Veteran
16-35l
24-70l
70-200l
24-70l
70-200l
davidschmaus
Active member
24 1.4
50 1.2
70-200 is
50 1.2
70-200 is
JoeJITSU
Veteran
Philippines? Any links?
Moses Chisel
Active member
Nick Wernham
Member
I have no prior experience with the Sigma 12-24mm, but I love my Tokina 11-16mm, sure it vignettes on a full frame until about 15mm (making it effectively a 15-16mm zoom), but it opens up to f/2.8 and is absolutely tack sharp. It would be marvellous on a 7D or on a Red camera or other cinema camera with a Canon mount (which features approximately the same crop factor at 4k as the 7D). It already gets a fair bit of use even with these limitations on my 5D and will get much more on our Scarlet.
Cosimo Bullo
Veteran
A great lens on the 5d is the Contax Zeiss 28-85 manual zoom. Just a sweet zoom for the full frame.
gonzo_entertainment
Veteran
just REALLY limited utility for anything wider than a 24mm.
ROCKMORE
Veteran
full frame until about 15mm (making it effectively a 15-16mm zoom), but it opens up to f/2.8 and is absolutely tack sharp.
Do you have any ff samples at 15/16 showing sharpness wide open on the edges? I've been looking but haven't found yet. Thanks
JoeJITSU
Veteran
I have no prior experience with the Sigma 12-24mm, but I love my Tokina 11-16mm, sure it vignettes on a full frame until about 15mm (making it effectively a 15-16mm zoom), but it opens up to f/2.8 and is absolutely tack sharp. It would be marvellous on a 7D or on a Red camera or other cinema camera with a Canon mount (which features approximately the same crop factor at 4k as the 7D). It already gets a fair bit of use even with these limitations on my 5D and will get much more on our Scarlet.
for Steadicam purposes what do you think about the Canon EF 16-35mm f2.8L lens? I have seen some great steadicam footages with this. [h=2][/h]
Cosimo Bullo
Veteran
We too rarely take the Zeiss (contax mount) 28-85 off the body. Just sweet through the range.
I totally echo what someone said earlier about lens choice depends on the job. BUT if I had to pick only three, I'd at least have to choose between narrative vs. event
Narrative:
35 f1.4, 50 1.2, 85 f1.4
Without question, between these three you've got 90% of your traditional narratives covered.
Event:
24-70 f2.8, 70-200 f2.8 IS, 50 1.2
Since you're emphasizing speed, zooms are more important, but you gotta throw in a fast 50 because you never know if you're going to need the extra light.
With either of these sets, you don't have to have Canon, per se, something equivelent from another maker will do as well if you can't or don't want to spring for the fancy red ring.
Narrative:
35 f1.4, 50 1.2, 85 f1.4
Without question, between these three you've got 90% of your traditional narratives covered.
Event:
24-70 f2.8, 70-200 f2.8 IS, 50 1.2
Since you're emphasizing speed, zooms are more important, but you gotta throw in a fast 50 because you never know if you're going to need the extra light.
With either of these sets, you don't have to have Canon, per se, something equivelent from another maker will do as well if you can't or don't want to spring for the fancy red ring.
Reading this thread has made me realise my own choices are idiosyncratic. Anyway...
1. Canon 24-105L
2. Canon 70-200L
3. Zeiss 85mm
4. Canon 100mm macro
5. Canon 14mm
6. Zeiss 50mm
I do have a bias towards closer shots than wider shots. Focusing on details, etc. So, am intrigued that most people here like wider lenses.
Zooms vs primes... I'm not necessarily that worried, to be honest, about images being prime-lens tack-sharp. As long as you can get shallow depth of field and can expose and compose well, I personally find the flexibility of zooms usually more than makes up for loss of perceived sharpness, etc, especially in event-coverage-type situations. I also think sharpness doesn't necessarily look that good on video and that it looks better in photos. But that's just me. Don't know if it's an idiotic thing to say.
24-105 I particularly like for its flexibility and minimum focusing distance -- especially if you're taking shots of people getting dressed, and it's a cramped house/bedroom. I use it all the time -- wedding prep, ceremony itself, photoshoot, some of the reception. Downside is that it's often not quite fast enough. I'll even drop my shutter speed in an effort to get more light in. I'm assuming most people would use a 35mm or 50mm in this sort of situation...
70-200 gets use during ceremony and during reception (wedding speeches, inconspicuous shots of guests). Recently got a 135mm Nikon "defocus control" for during ceremony, but haven't put it to use yet. Rockwell claims it's arguably the best portrait lens in the world.
85mm gets used when reception goes dark. Performs wonderfully on the dance floor. Really do prefer this field of view, etc to a 50mm.
100mm for close-ups of rings, shoes, wedding dress details, sometimes makeup being applied.
14mm for Steadicam.
50mm whenever situation calls for it.
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