Other: ZEISS LWZ.3 21-100mm/T.2.9-3.9 T Announced

I suspect that Morgan is in the same situation that I am in. Very rarely do I dictate the camera that is used. People call me and they specify what camera they want. "We need a shooter and a C300. Do you own one or can you get one?" Many times I am receiving the call because the potential client was looking for an fs7 and was referred to me. Other times owner / ops call me to operate their camera on gigs they have booked. Either to fill in for them or to operate a second camera. Those jobs are almost always on a C300, Fs7, or F5.

Were I to purchase a PDW-850 or PXW-X30whatever they would sit around collecting dust. In my world almost no one wants 2/3" cameras. At most there are a few clients who will accept 2/3" cameras but only begrudgingly. I haven't had a call asking for a 2/3" camera in many, many years. Roughly 80% of the calls I receive want a C300 or Fs7. Another 10% want an F5 or F55, the other 10% want a Red or Arri.

It's been years since I knew of a reality show shooting on 2/3" cameras. Shows like Oprah, Ellen, Inside Edition, Extra, Entertainment Tonight- they want s35. I'm shooting a feature piece for CNN this weekend and they wanted a s35 camera. Rarely when out shooting at an event do I encounter another shooter on 2/3". If they are on 2/3" they are usually the shooters for local news stations.

It may be true that much of the work shot on s35 SHOULD instead be shot on 2/3", but the clients dictate the format and wrongly or rightly they want s35. The bookers who call me just know that they are to hire a s35 camera. It would be pointless for me to attempt to point out to them that they really should be on 2/3". The bookers are just doing as instructed and don't care one iota what format I think they should be shooting on.
 
Well this is the thing about DVXUser. a squillion people on here who all do all sorts of different work using evangelising that their way is the correct way.

I know I do that all the time :) *


For the most part I get hired agnostic of particular gear, other than the client knows I'll obtain the tools to do the job. I get a lot of contact from people who are 'I need an FS7 and operator next Tuesday' and 9 times out of 10 I end up not doing the jobs because they weirdly expect me to work for next to nothing and I have never met them before and ahead of even discussing the project in any detail and seeing if I would be a good fit for it they are wanting me to take a 50-60% pay cut. As though whoever answers 'yes' to that is the right fit for it.






* Because my way is the correct way, obviously. :)
 
Who cares about S35, 2/3rd inch, new Zeiss, Sigma, Cooke or whatever? Apple have just announced iPhone 7 and according to one professional muppet I just heard on TV, we're all out of a job.
 
Doug Jensen said:
Ever hear of Survivor, Apprentice, or Amazing Race?
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No, Doug, I've never heard of those shows. Not even after having my Sound Op regularly regale me with stories from their having worked on Survivor. ( If I have to hear one more time about how she saved a contestant's life by calling their attention to a poisonous snake... )

Sigma is rocking it of late. I read some test reports where they made the blasphemous claim that the Sigma Art 50mm is competitive with the Otus in some respects.

My Sigma Art 16-35mm is one of my most expressive lenses in my kit. That f/1.7 can become addictive and easily overused if not mindful.

The recently announced Sigma Cine line is exactly the form factor I have been looking for in primes. Smallish size and a focus ring roughly the same circumference as the iris ring. Never much liked how the CP.2's and CN-e's have a bell shape and large fronts that seem more designed for follow focus than for hand-pulling of focus.
 
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JPNola said:
If you still get calls for your 2/3" camera(s) and are able to get work with your 2/3" cameras, more power to ya'.
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I sold my F800 three years ago because I no longer care to shoot for any show that would still be shooting on 2/3". I'm not saying it's a bad format, just the type of show that would still use that type of camera is not what I'm interested in shooting. And no more reality shows for me ever again, I've been there and done that grind too many times to count. My body couldn't take that drivel anymore even if my mind could.

Ironically though, I just upgraded my F55 to the CBK55BK ENG dock and I love it. I should have done this a couple of years ago. Now my F55 feels and operates a lot like my old F800. I'ts a hybrid that I call the F55-800. Having a VCT plate, slot-in dual channel digital wireless receiver, external audio controls, rear XLR connectors, 5-pin stereo shotgun connector, is fantastic. I almost forgot how much I missed the convenience of those things. I know for a fact that CBS (including 60 Minutes) and NBC Sports are investing in the same CBK system for their new F5 cameras. Suddenly the F55/5 are making inroads at the network level like never before.
 
Doug Jensen said:
I sold my F800 three years ago because I no longer care to shoot for any show that would still be shooting on 2/3". I'm not saying it's a bad format, just the type of show that would still use that type of camera is not what I'm interested in shooting. And no more reality shows for me ever again, I've been there and done that grind too many times to count. My body couldn't take that drivel anymore even if my mind could.

Ironically though, I just upgraded my F55 to the CBK55BK ENG dock and I love it. I should have done this a couple of years ago. Now my F55 feels and operates a lot like my old F800. I'ts a hybrid that I call the F55-800. Having a VCT plate, slot-in dual channel digital wireless receiver, external audio controls, rear XLR connectors, 5-pin stereo shotgun connector, is fantastic. I almost forgot how much I missed the convenience of those things. I know for a fact that CBS (including 60 Minutes) and NBC Sports are investing in the same CBK system for their new F5 cameras. Suddenly the F55/5 are making inroads at the network level like never before.
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Wow i hadn't seen that piece, a quick google image search and I can say that must be a treat. The f5 has been gaining lots of popularity in the circles of DP's I work with/for.

The new zeiss lens seems to be the one for me... holding out though as I don't need to spend 10k right now. I have a staff job using their PMW300 for the next few months. I couldn't turn down the rate and the benefits, despite them not wanting to use my fs7 :/ life is weird sometimes
 
Liam Hall said:
No. It's not just about focal length. You can shoot wides with a 32mm, you can shoot close. I'm not arguing about focal length, just that wides are cinematic and mid-shots are what you mainly see on the news...
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It's about the right choice of focal length for the shot. It tends to scream video when the focal length is too wide or to long for a shot IMHO.

Today while I was eating breakfast I had BBCBreakfast on TV and their northern eh up toothy business reporter was shooting a package from a northern Irish island. The camera hack must've had a Canon with fast lens in auto focus mode as he/she tracked her walking PTC and never missed focus not even for a millisecond. Trouble was it screamed amateur because the framing and choice of F stop were so totally wrong for the situation it left the presenter isolated in a sea of bokeh when the viewer was screaming to see the environment. The camera hack clearly thought they were being 'cinematic' but the DoF was so shallow the shot looked like garbage.

I shouted some obscenity at the screen, my missus bollocked me and then I left for work...
 
Its a bit odd that people are comparing how Roger Deakins or this or that BSC/ASC DP would use their lenses ..or Stanley Kubrick .. (in that clip the actress even say that John Alcott wanted to use a 50mm) .. they are on another planet from us.. they are on sound stages with fly away walls..they have art depart.. cranes/dollies.. they have 5 days to cover a few minutes.. or in Kubrick,s case a 5 months.. :).... When Roger Deakins shot doc,s he was not using only using one prime.. he had a 10-1 zoom.. like Chris Menges and Barry Ackroyd.. what they do in $100m feature films is not how they would shoot a doc.. content is king.. and the good dp,s get that content .. and make it look the best too..

Its not just how wide, minimum focus is just as important .. you pay for that too..
 
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My point is that changing focal lengths shouldn't be based on trying to "crop" something out or "get it all in".
Also when I shot 2/3 inch I tried to find a focal length on the zoom that recreated the "normal" perspective of of human sight. in super35 its between 27-40mm.
anything longer or wider needs to be motivated because it changes the perspective. But if you want to place the viewer "there" you need to go there and shoot it usually with a 28-35mm. choosing a tele or a wide shouldn't be based on "I couldn't setback far enough" or "i didn't feel like walking all the way over there"
 
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