Replacing my stock 18-55mm kit lens for video. Would love some expertise!

Whats up guys! I'm really trying to retire my stock 18-55 kit lens. 90% of the work I do is video production/commercial/music videos all filmed on my cropped sensored T3I Rebel.. I'm one of the people who believes it's no about the equipment, but who's behind it.. Well, to a certain extent lol.. But I currently own a 50mm-1.8 prime as well as a 35mm-2.0 prime and I've been really happy with the quality those produce, however, I can't use those lens's effectivly when I'm on a track,crane or flycam since what you can see in the shot is so limited.
I've really been considering the 17-40mm F4 L lens. Can anyone back this lens up? Will it suit me well for video production and pull super sharp images? I'm not so concerned about how far it can zoom since I have my prime 35mm and 50mm which basically act like a 60//80 on my cropped sensors. So I really need something like my stock 18 but much nicer quality.. Does this lens still let in good light with it being a zoom & F4?

JLRoyal42,
We're glad to assist you with a new lens for shooting your video productions and commercial, music videos. The EF 17-40mm f/4L USM lens would be a good choice for this type of work.
Another great lens would be the EF 16-35mm f/2.8L II USM lens. This lens lets even more light into the camera if this is a primary concern. Both being 'L' series lenses, they are made with the highest exacting standards. They work well as zooms for video too because they maintain their aperture across the focal range.
I hope this helps you make a decision as to which lens you pick!
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EF-S 18-55mm kit lens fogs up.

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My bad. I just saw the other fog topic. I'll follow that one. ThanksJohn

In the market for a new computer would love some feedback

Ok so I have a dilemma,
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Who is the best app for video effects ?, some one like adobe after effects ? Thank u for ur help.

Who is the best app for video effects ? Some one like adobe after effects ?

Tweakers Page - What video card to use?

Wide angle lens for video camera

I apologize in advance for being so off topic, but I know some of you fine folks use a Panasonic PV GS500 mini dv. I'm not having any luck finding a wide lens or screw on wide angle adapter. I believe the threads are 43mm. Any suggestions? Something cheap would be just fine, this is more about learning FCE and not about producing awesome epic films.
Thanks
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iMac Mac OS X (10.4.9)

Try this on the the video production forum. You're more likely to find camera types there.
http://www.classondemand.net/classondemand/final-cut-training/fcp5.aspx

Lens for Video

I just bought the Canon 6D. I shoot a lot of video and I'm looking for a great lens with image stabilization. Any advice would be greatly appreciated.

The Canon EF 24-70mm f/4L IS USM fits the bill. But, the best buy is the canon EF24-105mm f/L IS USM. . It can be had as a “white box” for around $700 bucks.
I just watched a videographer film an entire commercial with a 5D Mk III and the EF24-105mm f/L IS USM.
But you did not state a specific requirement except IS.
EOS 1Ds Mk III, EOS 1D Mk IV EF 50mm f1.2 L, EF 24-70mm f2.8 L,
EF 70-200mm f2.8 L IS II, Sigma 120-300mm f2.8 EX APO
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Taking the big leap: buying new computer, camera, color software (X-Rite), printers...would love some feedback from those who may know about fine art reproduction. I'm opting for Canon camera options, Mac Pro vs iMac, and in printers, the Epson 7600.

Friends of Digital Workflow, especially photographers,
I'm just about to buy all new studio equipment.
I have two threads to my question:
1. Want some input about iMac vs Mac Pro (with a 27' monitor), which monitor system do you prefer?
2. I am Guru level in the Creative Suite but have little knowledge base for working with Aperature. Want some feed back about pros and cons of the workflow.
I'm also investing in X-Rite Color Suite for Print so that cameras, monitors, printers and projectors may be calibrated. I've used Gretag equipment for years and know profiling quite well. This is an important issue for knowledge about how profiles interface with Aperature.
I appreciate any and all comments.
Merci,
Frederick Park
North Carolina
PS You are welcome to request my personal email or phone number if you feel a lengthy discussion is an option.

Hi Frederick,
You're spending a lot of money. I will add my 2¢ -- -- but you must, as I assume you know, fully research your options.
Environment:
Start with your workspace (inc. lighting) and your clothes.
Screen:
The iMac screens are lovely, but not, from what I hear, monitor-grade accurate. For critical color work, use NEC or Eizo monitors. I use NEC, with their SpectraView II software and an X-Rite ColorMunki photospectrometer. At the time, this was the least expensive color-calibrated workflow.
Printer:
Epson's are great, imho. I use a 3880 in my studio and rent a 9900 by the hour when needed. I have read of problems (iirc) with one of the printers in the 7000 line, however. The take-home lesson that I filed in my brain was, "If you're going to spend the money on the 7000 line, just get the 9000 line."
Aperture workflow:
Aperture is a fantastic workflow tool. Since you are adept with PS, you should set PS as your external editor. Use Apertures formidable tools for storing and organizing your Images, and its robust editing tools for either all your proofing, or all but your most demanding editing needs. That said, allow a good bit of time to get the feel of Aperture. It is not at all like Bridge. But your important choice is which RAW converter you want to use. There is, imho, no reason to use Aperture if you are going to use Adobe's (or anyone else's) RAW converter.
Good luck!
--Kirby.

What's the best EOS for video?

Hello,
I'm in the market for a new DSLR. Obviously I want beautiful photos, but the video is almost more important. I would love to get the 7D, but I'm interested in whether there is a more budget friendly option that is just as good. What about the 60D?
Or perhaps a Rebel T3i or T4i?
Thanks for your suggestions!!

If video on a budget is your primary desire, the T3i or 60d with Magic Lantern would be my choice. ML will give both cameras essentially the same functions (which are IMMENSE with ML on board), but the 60d is going to have a few extras you may prefer in a stills body (plus little things like ease of swapping batteries on some tripods because of battery door placement). That said, if you can get a refurb T3i for $360 vs a 60d for $600 (black friday prices), I would get the T3i hands down. That is a LOT of camera for the money at those prices. Too bad it shows T2i out of stock, but at >$300 it's obvious why!!!
Lenses make a difference in stills quality, but for video not as big, especially for what you want to do. There is NO reason you need to spend $1000 on a lens for video. An HD video image is about 2mp. A still will be 18mp. So obviously the quality of glass will have more affect on IQ for stills than video. Basically, any lens that is good enough for stills will be good enough for video. Not necessarily the other way though. That's why people like to use old MF lenses for bargain finds for video. There are other things to consider such as focus ring placement and smoothness for video use. For example, the 50 1.8 is perfectly fine for stills but the focus ring is in a bad spot for racking focus for video use.
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I suggest the 60d and T3i because if you're doing video, that swivel screen will pay for itself immediately. I reach for my 60d over my T2i for video every time because of the swivel screen. Heck, I grab my SX20 for video (if I'll be outside or in good light) over the T2i BECAUSE of the swivel screen alone.

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Best export settings for video for web

Can anyone give me some advice on the best export settings for a short video that is to be viewed on the web? I have some short, say 2 minute videos that need to be placed on a website and need a reasonable file size. What would the best Format and Preset options be in Premiere? Would it be helpful to utilize After Effects to reduce file size? Thank you in advance to anyone who has some advice!!

For now, it would be on my own website or a clients website. But there may
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What is the best set hard drive set up on an iMac for video editing?

what is the best set hard drive set up on an iMac for video editing? i only have one internal 2tb hard drive.

CIANCIO.mov wrote:
so is it best to edit directly off your LaCie fire wire drive, or off the internal HD and store on the external?
The second.
Which one is faster to edit with?
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Does a faster hard drive decrease rendering time?
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I think that a second internal drive would be faster than an external Firewire drive. However, a Thunderbolt drive is said to be very fast, but I do not know whether it would be faster than a conventional internal drive. This question would best be asked of the Final Cut Discussion Groups because thay might have experience.
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enyone. thanks,
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Best reasonably priced macro lens for a 70d

Hi i have got a canon 70d and have just started doing alot of macro photography (Flowers bugs etc) i've been using the the 18-135mm kit lens but now i know im enjoying it im going to get a mocro lens. Cant afford nothing to major as saving for wedding and house. Was just looking for some advice on reasonably priced macro lenses. Any Advice welcome..
Thanks in advance
Darren

amfoto1 wrote:
Actually, it's hard to go wrong with macro lenses... Most give excellent image quality, so it tends to be the other features that are deciding factors. I have no idea what you consider "reasonably priced".... To one person that might be no more than $100, while to another it might be anything under $1000.
Canon EF 50/2.5 Compact Macro is currently about $270... As an EF lens, this can be used on both your crop camera and on full frame cameras. But this is a micro motor focus drive lens (slower, hunts more), and on it's own it only goes to 1:2 or one half life size magnification. To get full 1:1 magnification with it, there's a separately sold converter that costs another $270. You also could use macro exension tubes - that sell for between $70 and $200 for a set - to increase the lens' magnification. All the other macro lenses listed here are able to do 1:1 without need for any adapter. 50mm is fairly short focal length, putting you relatively close to your subject. This lens' closest focus is about 4 inches (with 1:1 adapter... compare to 12 inches with a 100mm lens). Personally I use shorter macro focal lengths mostly in-studio where they can work well.... but prefer a longer focal length in the field. Uses 52mm filters. No lens hood offered or supplied, it doesn't really need one because the front element is deeply recessed into the lens.
SIgma 50/2.8 Macro lens sells for about $350. I don't know much about this lens, it's been around for a while. I know it's 1:1 capable, both crop and full frame capable and has a micro motor focus drive. Comes with a lens hood. Uses 55mm filters.
Canon EF-S 60/2.8 USM Macro is on sale at the moment for $420. It's an EF-S lens, which will work fine on your 70D, but is not usable on a full frame camera. USM focusing drive is a bit faster, quieter and more precise (see below about focus speed). It's full 1:1 capable, a little longer focal length than 50mm, but not a lot. It's relatively compact and it is "internal focusing" or IF, which means it doesn't change length when focused. It uses 58mm filters and the matched lens hood sells separately for $24 (third party hoods are available for less).
Tamron SP 60/2.0 "Di II" Macro/Portrait lens is selling for about $525 and, like the Canon 60mm Macro, is a "crop only" lens. Fine for your 70D, but not usable on full frame cameras. It's also IF, but using a micro motor type focus drive. I've been working with one of these lately, giving it a try. I find it's focus slower than Canon USM, but generally plenty fast for most macro/portrait usage. The main attraction of this lens is its f2.0 aperture... fully a stop larger than most other macro lenses (Zeiss makes a couple f2.0 macro lenses, but they are manual focus only and quite expensive). This is nice particularly when using the lens for portraiture. It uses 55mm filters and comes with a lens hood.
Canon MP-E 65mm is not a lens I'd recommend to anyone just starting out shooting macro. This is an ultra high magnification lens... actually can do no less than 1:1 and goes as high as 5:1. That's a range well beyond what many people shoot. It's also about $1000 and stricly manual focus. It's a superb lens, usable on both crop sensor and full frame cameras, and one I use personally. But it's still not something I'd recommend to anyone just starting to shoot macro. It's rather challenging to work with, pretty much a "tripod only" lens. Comes with a tripod mounting ring, uses 58mm filters and an odd little lens hood sells separately for around $40.
Sigma 70mm f2.8 EX DG macro lens.... is another I don't know a whole lot about. Like their 50/2.8 macro, it's been around a long time and uses a micro motor type focus drive. It is the first lens in this list that has a Focus Limiter (2 ranges), which is a feature that can be helpful speeding up auto focusing. It sells for about $470, uses 62mm filters and comes with a matched lens hood.
Tamron SP 90mm f2.8 Di is another excellent design that's been around a long, long time. I've still got and use manual focus versions of this lens dating back to the 1980s. The currently available micro motor version sells for $500 and, as a Di lens is usable on both crop and full frame cameras. It's got a focus limiter (2 ranges), uses 55mm filters and includes a matching lens hood. It is not an IF lens.
Tamron SP 90mm f2.8 Di VC USD is an updated version of their venerable 90mm, now with both an improved AF system (USD is similar to Canon's USM) and image stabilization (Tamron calls it VC). It is said to be better sealed against dust and moisture, and also uses an aperture with 9 curved blades to make for smoother background blurs. This lens is Internal Focusing (IF), has a Focus Limiter (4 ranges!), was introduced within the last year or so selling for about $750, uses 58mm filters and comes with a matched lens hood.
Canon EF 100/2.8 USM is another excellent lens I use personally. This is the older version of this lens without IS (and not L-series, but you would be hard pressed to tell any difference in build quality, comparing it to some L-series such as the 180/3.5L macro). A key feature here is that it can optionally be fitted with a tripod mounting ring.... something that's not possible with most of the other lenses mentioned here. For macro work, I consider a tripod mount a very important feature, though some of the smaller lenses might be fairly usable on a tripod without one. This lens has USM focus drive, is IF, has a Focus Limiter (2 range), sells for about $550 presently, and uses 58mm filters. A matched lens hood is quite large and sells separately for about $40. Tripod Ring B to fit it sells for about $140 (there are cheaper third party hoods and tripod rings).
Canon EF 100/2.8 L IS USM is a newer model that primarily is upgraded with the addition of Image Stabilization (IS). Now designated an L, it includes a matched lens hood. Like the older model, a tripod ring can be optionally fitted. It has an improved Focus Limiter (increased to 3 ranges). It uses 62mm filters and is currently on sale for $900. Tripod Ring D sells for $172 (cheaper 3rd party ring is avail.).
Tokina 100/2.8 ATX is both crop and full frame compatible and sells for about $400. I haven't used it, but it's another venerable design that's been around for a lot of years. It has a Focus Limiter (2 range), uses 55mm filters and comes with a matched lens hood. I don't believe it's IF.
Sigma 105/2.8 OS HSM is currently on sale, heavily discounted, for about $670. I suspect Sigma is about to introduce a new version and that's why they are blowing out the current model with a large instant rebate. It is both crop sensor and full frame camera compatible. The current version has OS, which is Sigma's version of image stabilization, as well as HSM which is similar to Canon's USM focusing drive. This lens has a Focus Limiter (3 ranges), uses a 9 blade aperture, 62mm filters and comes with a matched hood. It cannot be fitted with a tripod ring.
Canon, Sigma and Tamron all offer longer macro focal lengths... 150mm and 180mm. In general I'd say those are pretty long to use on a crop sensor camera such as your 70D or my 7Ds. They all come with tripod rings, which is good because longer macro lenses can be difficult to keep steady. But they all are also considerably more expensive, so I won't go into the details about them.
Regarding auto focus speed... All macro lenses with AF are slower focusing for a couple reasons. One is that they have to move their focusing mechanisms a long, long way to go all the way from infinity to 1:1 magnification. Another is by design, they use "long throw" focus mechanisms that emphasize accuracy over speed, which is necessary because depth of field can be quite shallow at high magnifications. So, in general, don't expect a macro lens to offer the same AF speed as a non-macro lens with similar focus drive mechanism. What can help a lot are the type of focus drive and if the lens offers a Focus Limiter. Canon's USM, Sigma's HSM and Tamron's USD all will give faster focusing than micro motor drive systems on other lenses. Properly used, a Focus Limiter can really speed up focusing performance, too.
When shooting macro, auto focus speed usually isn't all that critical. In fact, I often just focus manually. Accuracy often is more important, due to the shallow depth of field. So AF perfomance might be a bigger consideration if planning to also use the lens a lot for non-macro purposes.
Image Stabilization (Canon OS, Sigma OS and Tamron VC) is offered on a few premium models. Canon's is a special hybrid version developed just for macro purposes, which most feel is a bit more effective than other forms of stabilization. Nikon actually was the first to put stabilization (they call it VR) on a macro lens, but most agree that while it's useful for non-macro shooting, it is of little practical assistance at 1:1 magnification. The Canon hybrid IS is considered to be a bit better at higher magnifications, but even it will be of limited effectiveness at 1:1. In other words, there may be times when you want to use a tripod or at least a monopod. And in those cases, particularly on some of the larger lenses, a tripod mounting ring can be a very nice thing to have (among all the above, only the Canon 100mm macro lenses can be fitted with a t'pod ring).
There are other options to "do macro", too. For example, you could simply get some Macro Extension Tubes to use with your current lens, to make it focus closer. Canon offers quality individual tubes in 25mm and 12mm lengths ($84 and $140 respectively). Kenko does too, but also offers a set of three that includes 12mm, 20mm and 36mm lengths (set sells for $200). The Kenko are very close to the Canon in design, quality and performance.
There are also less expensive sets (under $100) from Zeikos and Opteka. The Zeikos set includes 13mm, 21mm and 31mm and sell under a bunch of different brand names (Vivitar, Bower, Dot Line, ProOptic and many more). The Opteka set was just recently introduced and includes 12mm, 20mm and 36mm. All these sets are more plasticky than the Canon and Kenko tubes, but they do support autofocus and direct control of the aperture.
AFAIK, all the currently sold macro extension tubes for Canon mount are compatible with both EF and EF-S lenses. (If you were shopping used you'd have to be careful because some of the older tubes were EF only and could not be used with your EF-S 18-135mm lens).
Canon's TS-E 45mm and TS-E 90mm lenses also are usable for near-macro and, with extension tubes added, macro shooting. These are Tilt-Shift lenses that give additional control over the plane of focus which can be used to good effect with macro and shallow depth of field. I use a TS-E 45mm a lot for table top studio shots of small products. However, these are manual focus only, largely tripod-only and rather pricey lenses, so I just wanted to mention them here. They are probably not something I'd recommend for a first time macro shooter or general purpose, outdoor, walk-around macro work.
Personally, my two most-used macro lenses are a Canon EF 100/2.8 USM (the older model) and a Tamron SP 60/2.0. When I'm planning to shoot a lot of outdoor, walk-around macro shooting, the Canon lens is my first choice. However, it's rather large so when I'm not planning macro, but want to have a macro lens just in case, I'll substitute it with the much more compact Tamron lens. (Which also can replace two portrait lenses in my camera bag, so reduces my load by one lens serving in place of three.)
Another key consideration is flash. Often when shooting macro it's a challenge to get enough light to allow a stopped down lens, desirable ISO and adequately fast shutter speed. So you probably will find yourself wanting to use flash sooner or later. Canon offers two macro-specific flashes: the MR14 EX Ring Lite and the MT24EX Twin Lite. I use both for different purposes. I prefer the Twin Lite for macro shots up to about 1:1, maybe 2:1 (double life size) magnification. The Ring Lite I mostly use for very high magnification shots with the MP-E 65mm lens.
All the Canon lenses above have provision for, or can be adapted to allow for direct mounting of the two Canon macro flashes (Note: I believe there is a new "Mark II" version of the Ring Lite coming out soon). There also are adapters available to mount these flashes on non-macro Canon or onto third party lenses. It also is possible to use a single "standard" flash, along with an off-camera shoe cord and some sort of diffusion to hold back the flash, when shooting macro. I do that often with 550EX and 580EX II flashes.
There are other macro-specific accessories you may want to consider eventually. Often I'll use a diffusion panel and/or a reflector when out in full sun, to reduce too extreme contrast and help fill too-deep shadows. A focusing stage is another useful thing, when shooting macro with a tripod.
Finally, I recommend you pick up some books on macro photography. John Shaw's "Close-Ups in Nature" is perhaps the "Bible" among them and likely the most comprehensive. I also found books about macro by Tim Fitzharris and Joe & Mary MacDonald very helpful and interesting. I'm sure there are others, but those came immediately to mind.
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
FLICKR & PRINTROOM
Almost 2,400 words to answer a macro lens post? Alan, nobody can believe you can write so much (except TCampbell, ha ha) but you risk nobody wanting to read. See the link that follows for the sort of difficulty readers have with this sort of post, http://en.wikipedia.org/wiki/Wikipedia:Too_long;_didn't_read

FS7 Not communicating with kit lens anymore? No HDMI at 1080?

Got the FS7 in today and was teching it for a shoot. I upgraded to Firmware 2.0, but I coudn't get any HDMI signal out at 1080. I've also swapped lenses with the Metabones Ultra to take a look at how wide the Canons would get. After swapping the lenses and putting the 28-135 kit lens back on, it's not talking to the lens at all. No focus. No zoom. Nothing. Tried switching it to full auto and back to manual. I've cycled the power and pulled the brick. Nothing seems to solve the issue. Any ideas? -B

I had the same 'stuck pin' problem. It was (i presume) causing the lens to freeze and even the camera itself to lock up, needing the battery to be removed and re-seated to get it to respond. Plus my SDI ports stopped working - although the HDMI continued to work. What's more concerning it the scoring to the lens contacts: something is digging into the contacts and the surrounding plastic. This is a stock sony 28-135 kit lens, s/n5101330.i frequently swap between this and a Metabones SB ultra. The SB is also showing the same scoring to it's contacts, suggesting it's something camera-end that's doing it. I'm already having to half-twist the lens off and on again during shoots because it will randomly lockup and become unusable. is this likely to get worse? I don't want to have to send the camera in to Sony unless i really have to as it's now my A-cam that's earning me my main income. A second opinion would be welcome, thanks. (is there any way to upload photos to show what i mean?)

Best lens for T4i for shooting at night with bright lights?

I am looking for a lens for my Canon Rebel T4i. I am a news photographer and I shoot fire, police, and ambulance scenes at night where there are flashing lights like this: https://farm4.staticflickr.com/3857/15157183675_9500a2f415_b.jpg. My current lens is coming out blurry at times and overall quality is not good. I'm willing to spend a few hundred dollars on it, but nothing really expensive.

Hello sambo613,
The lens that you would want would be one with a larger aperture that will allow more light into the camera. One of the more budget friendly lenses that you might want to look into would be the EF 85mm f/1.8 USM or the EF 50mm f/1.4 USM. Either of these will feature a larger aperture value than what comes with the stock kit lens.
EF 85mm f/1.8 USM
EF 50mm f/1.4 USM
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Replacing my stock 18-55mm kit lens for video. Would love some expertise!

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