F5: Zoom Lens: Parfocal, at least constant 2.8, no (bulky) adapter, image stabilisation

ok, thank you very much again! I really need zoom-lenses - so it seems I have to make some kind of compromise in that respect - if I want an F5 instead of an C300 (which communicates perfectly with canon ef-lenses).
 
Everything in life is a compromise mate (unless they're paying you the big cash dollars!), especially when it comes to cinema lenses.

At the moment, the single most affordable way to get good, controllable lenses for video shooting looks to be the Optitron smart mount/follow focus. For about $3500 you get the ability to use still camera zoom lenses with a similar functionality to proper mechanical cine-lenses (i.e. you get a long repeatable focus throw - rather than 1" of focus travel with no hard stops).

The only other option for good zoom functionality for video purposes, is a dedicated cinema zoom lens - and they cost a whole lot of moolah.

The Optitron smart mount should give you the same functionality with EF lenses as the C300, and you don't have to get the focus controller to use it.
 
Another question-- do you really need a large sensor camera for this doc project? Could you do just as well with, say, a Sony PMW-200 -- with its half-inch chips, zoom lens and just generally set up to be a run and gun camera. Granted, the closest thing in a large sensor camera to run-and-gun capabilities is a C300 but with the PMW-200 you are getting the same 4:2:2 50 Mbps internal codec in a far less expensive and run-and-gun friendly package.

Ned
 
I own an EX3 and bought the AF101 (nanoflash) und GH2 when they came out - I really prefer the look of "large sensor"-cameras. But with Panasonics 14-140 and 12-35 f2.8 I found the lens-selection easier. A pitty they don't come up with a real new AF-model with a better sensor ...
 
With its aliasing and rolling shutter issues, I would not consider AF100/101 a candidate for any kind of run and gun work. Broadcasters and reality TV folk like the C300 for the codec and portability. You might consider a Blackmagic camera but I do believe that aliasing will be an issue there as well. But you could use your Canon IS lenses with the EF model. And while you say you like the large sensor look, what you really seem to be describing is an ENG camera shooting scenario.

Ned
 
I have done lots of longform-documentaries for TV with large sensor cameras already - they work pretty well for my purpose.
I like the image of the BMCC but it has no NDs, no phantom power, no IS, bad display, ... it is simply "too basic" - not a documentary camera in my eyes.
The C300 is perfect in many ways for what I want - I just don't like its look - but maybe I have to play around with it a bit more ...
 
Have you shot the C300 in log mode much? So long as you protect your highlights religiously, it puts out a really nice image to my eyes.
 
Yes, I tried C-log - how do you grade the footage? Do you LUTs? Or just 3-way-CC?
To my eyes it looks too clean ...

"Slightly" offtopic - sorry
 
The only practical IS zoom lens for the F3 is Sony's 10 thousand dollar but it is anything but parfocal lens but you knew that.[/QUOTE]
I'm not sure where you got this information. Have you ever used one? My Sony 18-252 is razor sharp throughout the zoom range and is completely parfocal. On the other hand, few if any still lenses are truly parfocal - certainly not to cinema standards. Their mechanics are cheap compared to almost any cinema lenses. They can be sharp, but have lousy ergonomics, reversed focus, and short rotation focus. They are certainly cheap and light, but you get what you pay for.
 
I would even consider spending 10.000 dollar for it - if it had constant aperture and was faster ...
But with a lens like the sony-zoom the advantages of a big sensor become (nearly) obsolete...
 
I bought my F3 for high end doc and corp. work and some commercials. Between the viewfinder issue (I now have an Alphatron) and the mix of still lenses I started with, I found that the value of the camera is in the beautiful images it creates - not necessarily based on minute depth of field. The still lenses were extremely hard to focus properly, none had back focus adjustments, and the marks are inaccurate, making sharp images a challenge. The Sony zoom has allowed me to get what I wanted out of the camera. It doesn't look like a 5D images, but that wasn't my goal. Perhaps others have better luck with focusing (I have been doing this a very long time and have never had difficulty before, even with Arri S's and other losuy ground glasses) but I like having a decent shot at getting at least 80% in focus without trying too hard. The Sony zoom also has very good image stabilization and decent autofocus. The tunneling is almost unnoticeable, despite the web rants about it. Try one before you knock it - nothing else available now comes close, and it may give you a lot more out of you F3 (or F5).
 
ok, Barons - you are right! I should check it out, play around with it before knocking it.
The still lenses are def. not perfect for filming - that is for sure.
There is a huge demand for appropriate zoom-lenses for large sensor-cameras - the Red Zoom seems interessting but thats it... - Fuji cabrio 19-90 T2.9 for 30.000 Euros ...
There is a lot room for more ...
 
Just happened upon this thread, but I've kept this LensRentals article bookmarked for awhile because I found it very helpful. I ended up buying a few of the lenses listed and for the most part found these descriptions to be fairly accurate. I used them on my F3 with the Optitek (which is a real gem of a device btw) and really enjoyed them for all types of work.

Incidentally, my Nikon 24-70 w/ front hood and focus ring by Duclos lens is available in the Marketplace if you're in the market, Thomas.
 
Let me chime in here.
Yes you can just use the OptiTek ProLock-i mount if you are just after the iris and the IS control. You will need power- we can supply the cable.
However the whole point of the ProLock-i mount systems is the EFF (electronic follow focus) the OptiTron.
It liberates you from cable spaghetti, gears on lenses, etc. It expands focus rotation to almost a full turn. It allows you to change direction. Allows for custom in/out points for even more focus expansion. Wireless coming soon. The size is about the same as a single channel Preston. Definitely not big. RR remote focus looks like a loaf of bread compared to the OptiTron. short video http://www.youtube.com/watch?v=TJrgfYLhVpk
 
Barons said:
Try one before you knock it
Click to expand...

Myself, I tried it on one project and couldn't stand it. It's not a terrible choice to shoot the telephoto end at the minimum aperture of T6.8 on a day exterior, but night work or day interior, what then? Boost the gain so you can shoot telephoto? I found myself having to light to the higher stop and then adding ND to be able to open up again for wider shots, pulling it for telephoto etc. That was a headache. And speaking of adding ND--you have to push the mattebox forward when you shoot telephoto to accommodate the lens telescoping, so more often than not I just shot at the higher stop. At that point, you basically have the depth of field of an EX3 shooting wide open, so you lose that benefit of large format.

My project was a narrative but I allowed for the possibility that it would be a good choice for run and gun doc work, especially with auto-gain and IS etc. I just find a 35mm sensor camera to be a tough choice for that kind of shooting, when there are so many options of 2/3" cameras that have much better ergonomics, and you are giving up the signature shallow-focus look by virtue of the ramping aperture anyway.
 
What so you need the eff for? Why not just focus directly on the lens? Is the focal length displayed on the evf?
however the eff is not for handheld camera ...
but the prolock Mount is nice
 
optitek said:
Yes you can just use the OptiTek ProLock-i mount if you are just after the iris and the IS control. You will need power- we can supply the cable.
Click to expand...
Hi, I'm very interested in a Canon ProLock-i mount simply to control the iris and power the IS... is this available yet? I can't find anything other than your youtube video. Thanks.
 
You need the EFF because with S35 chip cameras (and their ridiculously shallow DOF look desired) you need a lot more precise focus control than on a 1/3" or even 2/3" chip cameras. At least twice the precision. That's why everyone wants as much focus rotation as possible on cine lenses.
But you can always get that later. The ProLock-i is great for iris and IS...
Email me directly at jacek2@optitek.org for more exhaustive info...
We are shipping...:)
 
CharlesPapert said:
. At that point, you basically have the depth of field of an EX3 shooting wide open, so you lose that benefit of large format.

The reason to shoot 35mm instead of 16mm or S35 instead of 2/3" isn't just because of shallow depth of field - it's the quality of the image. I've shot a lot of 65mm as well, and what made it dramatic was the stunning picture - we constantly fought the miniscule depth of field.
Click to expand...
 
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