Film to digital

Hello, will my ef 75-3000mm 1:4-5.6 III lens that i used on my eos rebel film camera work on the eos t3i digital camera? i am planning to buy and i looked at bundles for 2 lens and noted one was efs 18-55 and the second lens was simply ef. thank you for helping

cicopo wrote:
The above information is NOT CORRECT. The most important error to point out is that EF-S lenses and their 3rd party equavelents are ONLY designed to work correctly on crop body cameras. They have a smaller light path than EF lenses. The S does not indicate they have a built in Stabilizer.
+1
The "-S" suffix on EF-S stands for "Short back-focus".  
An EF lens projects an image circle into the camera body which is large enough to completely cover the size of a roughly 36x24mm sensor (or 35mm film negative frame).  
An APS-C crop-frame sensor camera (all Rebel Bodies, the 70D, 60D, 50D, etc. and the 7D) have a physically smaller sensor.  The sensor is the size of "Advanced Photo System - Class" size film negative frame.  
Since the sensor is smaller, it's not necessary to project such a large image circle into the camera body.  These crop-frame lenses are designed to project a smaller image circle and, in doing this, Canon places the rear-most element of the camera lens slightly behind the lens mounting flange -- which means the lens slightly protrudes into the camera body.  The distance from that rear-most lens element to the sensor plane is the "back focus" distance.  These short back-focus lenses project a circle large enough to completely cover the APS-C frame, but not large enough to fill a full-frame sensor (not with adequate qualiy anyway -- most lenses project a circle far larger) you wouldn't want to use an EF-S lens on a camera with a larger sensor.  But it can also create a physical problem (not just image quality problem).
Since a larger sensor requires a larger reflex mirror, the rear-most lens element on an EF-S lens would technically be back far enough that the mirror on a full-frame camera would hit it when it tries to swing clear to take the shot.  To protect against this, Canon designed a bit of shelf/ledge in the full-frame camera that prevents an EF-S from even being able to "seat" on a full-frame or APS-H camera.  So basically not only should you not attempt to use an EF-S lens on a full-frame body, Canon designed the mount to prevent you from doing that by mistake.
Canon's designation for lenses with image stabilization built-in is the letters "IS" in the name.
Tim Campbell
5D II, 5D III, 60Da

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    Can I ask one of the resident experts to give me a brief primer on working with film in FCP? Questions:
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    * How do I digitize the resultant digi-beta footage? (are there particular settings I should be looking at?)
    * Do I edit as normal once the footage is in?
    * Is there anything special I need to know about the process of exporting an EDL?
    * Is it as simple as providing the EDL to the post-house that will transfer back to video?
    * What questions am I not asking that I need to be aware of?
    THANKS VERY MUCH FOR ANY ASSISTANCE, IT IS GREATLY APPRECIATED!

    Can I ask one of the resident experts to give me a brief primer on working with film in FCP? Questions:< </div>
    Only ONE of us? No. You post, the post is free for the taking.
    * What types of variables are there in getting the film transferred to digi-beta? < </div>
    This question has no answer except YES. What ISO/size/frame rate/positive/negative/Kodak/Fuji of film and how much will you be spending on the competency transfer? What is your release media? Film or digital?
    * How do I digitize the resultant digi-beta footage? (are there particular settings I should be looking at?)< </div>
    You need a capture mechanism of some kind: card or encoder that suits your production format. How much rez do you need? How big a Mac you workin' worth? You don't need the DigiB footage online unless you need to release back to the DB. You can use DV or any other less intensive video format for your offline.
    * Do I edit as normal once the footage is in?< </div>
    Lord, "normal" is totally subjective. Do you mean like you'd cut film or how you'd cut video? Yes and no. No and yes.
    * Is there anything special I need to know about the process of exporting an EDL?< </div>
    Yes. The FCP manual has extensive coverage of EDL formats and compatibility. There are as many answers as there are post production workflows. It's tricky and fraught with gotchas but it's easy if you have all fo the tools in place for your specific needs and have time to practice.
    * Is it as simple as providing the EDL to the post-house that will transfer back to video? <</div>
    Not at all. Nothing about working on film in video and then going to film or to an third party for online is easy.
    * What questions am I not asking that I need to be aware of?
    <
    That's funny. Run to the NAB or American Cinematographer stores and start buying books. Hit a million indie film production Web sites.
    lafcpu.org has alots of film producers on it but, listen, do not go around posting this same list of silly questions everywhere. Do some research and search those forums first. You are NOT the first person to have these thoughts.
    Get thick skin because there's so much you obviously do not know that some of us will insist on having some fun with you. It's not personal, you 've simply provided the incentive or the excuse.
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