hasselblad
Well-known member
Hi!
What is your favorite lens for 5D on Stedicam?
What is your favorite lens for 5D on Stedicam?
Your favorite lens for 5D on Stedicam?
- Thread starter hasselblad
- Start date
24mm L II is incredible! I use it on a APS-C cam and it's a bit too tight but still gives incredible images. Another lens to try on the 5D is the Tokina 11-16 f/2.8 between 15mm - 16mm. It has an incredible look on a stabilizer at a pretty cost effective price. 11-14mm vignettes pretty sharply on the full frame, but by 16mm it's clean.
morgan_moore
Major Contributor
Too wide and you have horizon issues.
28 nikkor PC is my fav on the 5d.. you can dial in some 'boom' (before the shot)
S
28 nikkor PC is my fav on the 5d.. you can dial in some 'boom' (before the shot)
S
G
Guest
Guest
I have started to like longer lenses. 50-85mm
But those wide angle ones make 'stabilizing' easier, or rather less apparent.
Just never considered one lens for steadicam, in the same way no one considers one lens for other camera work. Most often, I end up with a 35mm on a s35 camera. Which would be a 50mm on the 5d. But if you are on a budget, the wide angle lenses solve a lot of hurdles: Such as deeper depth of field, less apparent pitch and roll, and less need for accurate (fine tuned) composition.
Watch Argo, very few wide wide lenses on those steadicam shots.
But those wide angle ones make 'stabilizing' easier, or rather less apparent.
Just never considered one lens for steadicam, in the same way no one considers one lens for other camera work. Most often, I end up with a 35mm on a s35 camera. Which would be a 50mm on the 5d. But if you are on a budget, the wide angle lenses solve a lot of hurdles: Such as deeper depth of field, less apparent pitch and roll, and less need for accurate (fine tuned) composition.
Watch Argo, very few wide wide lenses on those steadicam shots.
Last edited:
Picture and Color
Member
As an event shooter, I tend to use the 24-105 frequently on my 5D3 and Steadicam Pilot because the IS helps to cover for my mistakes and for unpredictable situations.
The 24-105 can also be rebalanced quickly on the 105mm end for some very dramatic -- and challenging -- telephoto steadi shots.
I've also tried my 24 1.4 L ii and it helps when I want shallow depth of field on a more controlled shot where I can keep my subject at a constant distance. More risks, but more rewards.
I seldom go any wider than 24. I have the 17-40 but find that any wider than 24 and it starts to get distracting and less flattering with people.
The 24-105 can also be rebalanced quickly on the 105mm end for some very dramatic -- and challenging -- telephoto steadi shots.
I've also tried my 24 1.4 L ii and it helps when I want shallow depth of field on a more controlled shot where I can keep my subject at a constant distance. More risks, but more rewards.
I seldom go any wider than 24. I have the 17-40 but find that any wider than 24 and it starts to get distracting and less flattering with people.
I usually use the Canon 16-35mm but sometimes the Samyang 14mm
Joe Simon uses a the Canon 24-70mm https://vimeo.com/39293788
Joe Simon uses a the Canon 24-70mm https://vimeo.com/39293788
Curious what you mean by this? Difficulty keeping a level horizon, or distortion issues? Any examples? Getting good tips and tricks from experience steadicam operators seems difficult to find. Any suggestions are appreciated.
morgan_moore
Major Contributor
If you imaging shooting with an 85 - the B/G is pretty irrelevant - so if your horizon is off it doesnt show too much
Widen off to 28 and the horizon comes in to play
Ultra wide, 14-24 (fullframe) really exaggerate horizontal and verticals and put demands on your operating IMO
S
Widen off to 28 and the horizon comes in to play
Ultra wide, 14-24 (fullframe) really exaggerate horizontal and verticals and put demands on your operating IMO
S
That's the opposite of the usual perceived wisdom. The wider the lens the less apparent movement at the edges & the easer it is to fly. Using an 85mm on a Steadicam even on a full frame camera would be unusual. The DoF with a wider lens will be deeper for any given aperture so keeping the subject in focus is easier.
CharlesPapert
Director of Photography
"Perceived wisdom" is a good way to put it, as that is the case with most novice or casual stabilizer flyers. However Sam's thoughts are in line with "legit" Steadicam operators. A very wide lens will indeed show up minute corrections in horizon and thus is more challenging.
With the advent of large chip cameras, few newer operators are experimenting with longer lens work because they don't have remote lens controls for pulling focus, let alone a skilled AC to do the job. Thus it becomes a matter of staying wide or working the hyperfocal. It's a shame because long lens Steadicam is a great look. 85mm is by no means unusual for a working Steadicam operator. It's not all that difficult to operate particular if the subject is at a medium to close-up; where it can be tougher is if they are quite a distance away and one is shooting them head to toe or greater during a walking shot (from across the street, say). The operating touch has to be very light to pull this off.
In general, having a human being large in the frame no matter what the focal length is often the "easiest" way to shoot, and moving through an environment where the focus is on the architecture the toughest. This is because the eye is drawn to the subject and their relatively erratic movements, which tends to mask operating issues that may be happening. When the eye is instead drawn to lines in the frame (the horizontals and verticals Sam references), the operating is far more critical.
I hope that every stabilizer owner reading this has bought the Steadicam Operator's Handbook and does the line exercises described within. it's the time-proven method to learning the skill. Putting an X at the end of a hallway and slowly walking towards it and then reversing your steps is the same as playing a major scale when learning an instrument; repitition is the key to success. Simply following your friend around the house or yard (a la typical first stabilizer "test" posted on Youtube) has certain merits but doesn't teach the precision that is required to get good. After doing this line exercise, it's very helpful to try it at a longer focal length like 85mm to get a feel for how one needs to lighten their touch as much as possible for better control. Without fail, returning to a wide focal length after this will result in much results.
Don't get stuck in the wide angle rut! Experiment with longer lenses.
With the advent of large chip cameras, few newer operators are experimenting with longer lens work because they don't have remote lens controls for pulling focus, let alone a skilled AC to do the job. Thus it becomes a matter of staying wide or working the hyperfocal. It's a shame because long lens Steadicam is a great look. 85mm is by no means unusual for a working Steadicam operator. It's not all that difficult to operate particular if the subject is at a medium to close-up; where it can be tougher is if they are quite a distance away and one is shooting them head to toe or greater during a walking shot (from across the street, say). The operating touch has to be very light to pull this off.
In general, having a human being large in the frame no matter what the focal length is often the "easiest" way to shoot, and moving through an environment where the focus is on the architecture the toughest. This is because the eye is drawn to the subject and their relatively erratic movements, which tends to mask operating issues that may be happening. When the eye is instead drawn to lines in the frame (the horizontals and verticals Sam references), the operating is far more critical.
I hope that every stabilizer owner reading this has bought the Steadicam Operator's Handbook and does the line exercises described within. it's the time-proven method to learning the skill. Putting an X at the end of a hallway and slowly walking towards it and then reversing your steps is the same as playing a major scale when learning an instrument; repitition is the key to success. Simply following your friend around the house or yard (a la typical first stabilizer "test" posted on Youtube) has certain merits but doesn't teach the precision that is required to get good. After doing this line exercise, it's very helpful to try it at a longer focal length like 85mm to get a feel for how one needs to lighten their touch as much as possible for better control. Without fail, returning to a wide focal length after this will result in much results.
Don't get stuck in the wide angle rut! Experiment with longer lenses.
homestar_kevin
Well-known member
ditto!
CharlesPapert
Director of Photography
One of my favorites from my old Steadicam days was the 75mm roundy-round on Ed Norton from "American History X" (http://charlespapert.com/DP/SteadicamReel.html, shot starts at 2:47). Shot at 120 fps on an Arri 3, I made a full 180 degree arc around him. To make it easier on my focus puller we chalked out the arc on the ground so he could get a reference of my distance to Ed and adjust accordingly, but of course at that frame rate, a momentary buzz translated to many seconds of softness. The shot was chopped into two pieces in the film, here re-assembled of sorts.
Another long lens example in that reel is the cafeteria sequence in "Crazy/Beautiful" at 1:00, which we shot on 100mm for the wider shots and 150mm for the closeups. The reason for using Steadicam with those focal lengths was detailed in the Steadicam Handbook (first edition, anyway--not sure if it remains in current edition).
Another long lens example in that reel is the cafeteria sequence in "Crazy/Beautiful" at 1:00, which we shot on 100mm for the wider shots and 150mm for the closeups. The reason for using Steadicam with those focal lengths was detailed in the Steadicam Handbook (first edition, anyway--not sure if it remains in current edition).
Last edited: