What To Look For When Buying A Dslr Camera
If you are looking to purchase a lens for a DSLR camera to shoot video with, there are a few things that are
worth looking out for.
Offset question: Prime number or Zoom?
The respond to whether to buy a prime or a zoom lens, really depends on the type of work you lot practise. Although we would all love to shoot everything on primes, with a tiny depth of field and fantastic quality optics, how realistic is this? For certain jobs, there is the fourth dimension to modify lenses, a camera assistant to help out and speed the process forth, and for other jobs there is no time. Every bit your rig grows, it is easy to end up with a matte box or flare hood, an ND fader, a follow focus etc etc and all of this kit slows downwardly the amount of fourth dimension it takes to alter a lens.
Imagine setting up an interview on a 50mm lens and the director asks you to punch in a bit tighter, you can either reset your tripod moving forward and re chimera it, or change to another lens – some shoots there is time for this, and some not. I observe having the flexibility to move in a touch, often mid interview, to testify some emotion on the interviewees face or just add a cutting bespeak, is a large assist for a large chunk of the work I do. A standard zoom such as Canon's EFS 17-55mm for the 7d or the EF 24-lxx for the 5d would be my kickoff choice for lenses. Both of these lenses are prissy and fast (2.viii throughout the range). If you lot are willing to sacrifice a bit on the speed of the lens yous could get the 24-105mm. You proceeds a bit of extra length here, but the sacrifice is dropping down to a slower 4f throughout the range. Two of these lenses are stabilised and one isn't (the 24-70 isn't) Nevertheless, the 24-70 is two.eight so nice and fast and I really like that range for shooting handheld (rather than the wider 17-55) so I end up using information technology alot anyway.
Canon EF 24-70mm
Pros:
Fast 2.8f
Good range 24-70 is actually overnice for handheld
Cons:
More expensive than the two medium zooms beneath
No paradigm stabilisation.
Canon EFS 17-55mm
Pros:
Image stabilised
Fast at ii.8f
Cons:
Non L series - slightly plastic feel and not weather sealed.
Canon EF 24-105mm F4
Pros:
Weather sealed 50 serial
Paradigm stabilised
Large range
Cons:
Slower at 4f
Ok, and then yous have your 17-55mm or 24-70mm or 24-105mm standard zoom, this is a great start but if you do the kind of work that involves a lot of interviews, I find 80mm (which is roughly what you're looking at with the 17-55 on the long cease with the 1.6 crop factor) is not quite long enough. More on ingather factors and lens size comparison here. For a standard MCU (medium close upward) in an interview you demand to bring the camera too close to the interviewee. Having a camera right in someone confront, if they are not used to being interviewed, tin be uncomfortable for them.
Should I just purchase a cheaper zoom lens?
At that place are a few problems with lenses every bit yous go downward the price range. Firstly, they are slower with apertures around the 4.5 to 5.6 marking, this means they are not as great in low lite and don't have such a narrow depth of field. Secondly, the build quality isn't every bit good, often the cheaper lenses are in plastic casing rather than metal. Thirdly, and most importantly for shooting video, the discontinuity changes throughout the zoom range. Imagine y'all are shooting a tight shot on the long stop of the lens, and then you lot zoom back for a broad and you'll be pretty over exposed. This probably isn't an result for a photographer, but it could be if you are shooting video. The next betoken is a bit of a killer. If you lot take a zoom lens, zoom in to the field of study and brand sure it is abrupt, so go back to your wider shot on some lenses the focus point will have shifted slightly. This is a disaster from a DSLR video betoken of view. With a broadcast lens this aberration can exist easily stock-still with a backfocus chart, this is not the case with a stills lens. Yous tin can of course avoid checking focus in this manner by using the digital zoom on your camera, only – and information technology is a big but - not if you are already rolling (at least non if y'all are shooting on a Catechism DSLR). If y'all are shooting with a sound recordist and you synch upwardly your photographic camera to their external recorder, once you are rolling that is it, you can't cut, and you tin't use your digital zoom. (This aberation is very common on stills lenses, even at the higher stop of the price range.) Cheaper lenses ordinarily aren't weather condition sealed as well every bit the 70-200 higher up, then if you are shooting in the rain it could go damaged. At that place is likewise the effect with the focus ring. Many cheaper lenses have a build quality that works for photographers taking photos with machine focus. When yous are shooting video, you obviously demand to use the focus ring manually, and I find that cheaper lenses don't funtion quite likewise here, merely a tiny nudge on the focus ring and the shot will drift out of focus, whereas the more than expensive lenses are merely a bit more solid, as they lens manufacturers await the focus rings to be used manually.
My advice would be, if you can afford the more expensive 70-200 lens, get it, and if not purchase the cheaper seventy-300 IS, just be enlightened of its limitations, you lot can notwithstanding get good results with this lens, the glass is still good quality and yous will nevertheless get corking images, merely be enlightened of its issues. In between these options there are other choices: you can get a 70-200 that still has image stabilisation and information technology still has a constant maximum aperture through the range, but it is 4f not 2.8f. This is a good option every bit it is almost half the toll of the 70-200L ii.8IS.
And then now y'all have a standard zoom and a long zoom, you are well gear up up to shoot about situations, just yous want to add a nicer look to your work, and so you want a prime. The first prime I would buy without a shaddow of a dubiety would be a 50mm. 50mm lens are nifty, especially on DSLRs such as the 7d with a ane.six ingather, or cameras with a super 35 sensor sizes. They are as well very well priced compared to all other primes. For the same money as you lot pay for a 85 a 35 a 28 or whatever, the 50mm volition pretty much always exist faster and this is true across all the manufacturers. And so what 50mm to purchase? As anybody is on a different upkeep, here are a few options.
Option 1, tiptop end:
Zeiss ZE or ZF 50mm 1.4f:
Zeiss make superb lenses. If you have the greenbacks, this is the one to go for. The ZE is a Canon mount, the ZF a Nikon. The Nikon tin be adjusted to shoot on a Canon mountain and the advantage of this is that the Nikon has an iris wheel. In that location are companies that will declick this for you lot, giving you a peachy video lens.
Option two, Mid range:
Canon i.4f
This is a really nice fast 50mm lens and a great price.
Option iii, budget:
Catechism 1.8f
If you are on a limited budget, then this is a not bad choice. The only slight issue I have with this is that the focus wheel is tiny. This lens has been designed with the auto focus system in mind. That said it is certainly a bargain.
The next lens to look at is probably a wide zoom. The mid range zooms discussed at the begining are really not super broad. I am a big fan of the Tokina 11-16mm for Super 35mm sensor cameras or APSC chips (this would include the 7d) or if you have a full frame 1D or 5D and so a Canon sixteen-35mm.
Tokina 11-16mm (NB for APSC sensor 7D etc Not Total FRAME)
Canon sixteen-15mm (for 5d or 1d)
So, in respond to the original question, as to whether to buy primes or zoom lenses, the answer is, you lot may need both. If yous mostly shoot in situations where in that location is enough time to often change lenses, primes are keen. Mostly speaking, primes are built with less glass meaning they allow more calorie-free in, they tend to be better in lower low-cal and have a smaller depth of field when wide open. Fifty-fifty if you work on projects that are relatively quick moving, getting a few establishing shots on a 50mm at i.4 will give you some stunning small-scale depth of field shots, and really add some value to your work, merely is likely to exist used less often that a standard zoom. I tend to put my standard zoom on the camera and leave it there for 70 percentage or more than for the shoot, so this is where I don't mind investing some money.
One last point to note. Lenses hold their value very well as you can easily see from Ebay. If yous buy a lens information technology is worth investing in the best optics you tin beget. If you decide later information technology is not the right lens for you, you can always sell it and you probably won't lose much money.
There is more geeky lens conversation on the equipment page.
You lot may besides be interested in:
What is the best zoom lens for DSLR and video cameras.
Source: https://www.danielhaggett.com/blog/107-what-to-look-for-when-buying-a-dslr-lens-for-video
Posted by: choexpeithe.blogspot.com
0 Response to "What To Look For When Buying A Dslr Camera"
Post a Comment