Before I begin.... This is the first time I've ever posted anything anywhere! I've always taken advantage of reading reviews and posts from others but have never participated until now.

I've been shooting wedding videos for almost 20 years and I'm just about to switch over to the "dslr" 35mm cinema style shooting and I'm going to be purchasing a Canon c100 in the next few days but I'm stumped on what lens or lenses to buy. It comes kitted for an extra $600 with the Canon 24-105mm f4 IS which is nice because of the zoom and the IS but its an f4. The other option is to get the infamous Canon 24-70mm f2.8 ver II but I lose the IS and the longer zoom. I don't know if it's a waste getting both lenses. I would only be getting both because I'm only paying half for the 24-105mm because it comes kitted. The other option would be to go with the Tamron 24-70mm 2.8 which has image stabilization for half the price but I've read some complaints about the focus ring being a little small and the overall performance is not as nice as the Canon. So many lenses I don't know what to get!

I normally shoot European weddings (Groom's house, brides house, church, park, banquet hall) and the day is usually rushed so I don't see myself changing lenses throughout the day. Maybe just at the banquet hall, if that makes sense. I will be shooting with a monopod throughout the day and switch over to a tripod for the evening. I normally use an LED light on top of my cameras or at least I did with my ex3. Not sure if I still need that with these cameras being so good in low light.

Any advice on lenses or the C100 would greatly greatly be appreciated.

Thanks!!

John

You will NOT regret the 24-105 as a go-to lens.
Even at F4, given this camera's low light/ISO amazingness.

For my weddings, the 24-105 is the default ceremony lens and then for really lowlight settings with more predictable framing, I'll use a couple of primes.

You will be in for surprise coming from a ex3 and going to the c100, I think the c100 is a very complete camera that has everything you need to make the transition less painful but to make it easier I also would recommend the 24-105 f4 eventhough I don't shoot with canon camera's and lenses. The reason why is that IS is a very important feature and to get used to the camera you are better off with 1 lens that covers a larger focal range so you can use that lens through the full day if needed.

Since the c100 has so good low light performance you can also get away with it at darker receptions, if you are used to using a light you could try that as long as you have that one f4 lens, just for those situations where it gets really too dark.

I think that one lens will get you used to the camera and in the beginning you will need to put all your attention to the focusing and operating the camera. It doesn't have a smooth zoom like your ex3 has and even with a f4 lens focusing will be much harder, fast primes are something I certainly would get but only after you are feeling comfortable with the camera as they are very difficult to maintain focus when wide open, especially on moving objects.

Will you be shooting with only that camera? Many use a small high end handicam for safetyshots in church and the latest models will match up fine with the c100 as long as it's not too dark. The reason why you would use a second safetycamera is that the c100 doesn't operate so easily as the ex3 would, the ex3 is build to shoot eng type of fast moving and changing environments, the c100 will require much more effort to do the same.

Thanks Tim and Noa for replying so fast. You guys make sense. Getting the 24-105 is a safe bet and as you say, will ease the transition from the ex3 to the c100. I'll worry about getting other lenses after I become comfortable with the camera.

How's the bokeh with the 24-105? Clients love that blurred background.

Do you guys have experience with the c100? Would anyone know how far I can push the ISO before you start to see grain? I believe this camera has a noise reduction feature as well but I guess you sacrifice sharpness as you decrease noise.

Thanks again!

For both reach and bokeh, you may want to consider the 70-200 f/2.8

With the new Dual Pixel Auto Focus mode, and a couple of 'switches' in the C100's menu system, I've now made my peace with the 18-135 lens and whilst it's an annoying plasticy fly by wire lens, it's proved sharp and useful in hand-held run & gun situations.

The 24-105 has lots of fans, including me - but it's not quite the fix for an ex-EX1 user.

I did some tests side by side with the EX1, and I'd say the 18-135 bokeh at f11 exceeded the EX1 at f2.8, and was very pleasant at f8 - setting this lens here stops all the ramping of exposure when you zoom. But f4 it ain't!

Matt, I will also be sending my c100 (when I get it) into Canon for that firmware upgrade. Do you find it noisy when it's autofocussing? Will it screw up vital audio shots? How much was the upgrade $500?

Thanks.

Well, believe it or not, I'm still waiting for my Dual Pixel Auto Focus upgrade - Canon scheduled me for the 31st March (grumble, grumble). I've begged for a 'standby' ticket, but heard nothing yet. Is it really that popular in the UK? It's costing around £340 + 20% VAT (which I can reclaim thankfully) so most UK users who aren't registered for VAT would be paying £408, which I feel it should be said is equivalent to $680 US.

The Auto Focus 'chuckle' from some lenses won't be an issue with the AF adaption because it's not doing contrast detection with all that 'in a bit, out a bit' motor noise. Furthermore, the STM lenses such as the 18-135 are almost silent. You're going to hear more from the slight rumble of the IS system than anything else.

When (!) I've had the C100 taken to the Canon vets, I'll do a 'noise' test (and of course cross check the Sigma story, as that may have put the kybosh on my plans for the 18-35). Sigh, back to the edit suite...

I used the Canon 16-35 last night and in a dark reception hall it was a great addition.

Unfortunately there isn't one lens that will do everything. Here a list of the lenses in my kit & why I have them:

1x Tokina 11-16mm F2.8
For getting establishing shots, like buildings, décor, dress hanging somewhere & for amazing dance footage during reception. I highly recommend this lens, gives a feeling of freedom.

2x Canon 17-55 F2.8 IS
For small rooms on a monopod with low light eg. bridal, groom prep, décor. One for myself & a 2nd for my assistant. First dance because it's F2.8. It's a good lens but because it's not a L lens dust builds up under the glass which is annoying for such an expensive lens!

1x Canon 24-105 F4 IS
Great overall lens but not wide enough for small rooms. I use this for everything if there is enough room. This is my main ceremony lens on the couple from the front gives you enough reach to handle almost any situation. Also the lens I use during the photo session & for the reception.

1x Canon 70-200 F2.8 & F4 IS + 1.4 Extender
These work great for the officiant angle. For big churches the 1.4 extender helps a lot. Used for the speeches during reception. I have both the F2.8 & F4, I tend to use the F4 more mainly because it's so much lighter but with the 1.4 extender light is lost so a F4 lens becomes too slow at F5.6. Great for anything that you need reach on & beautiful DOF!

Lenses I wished I owned is the Sigma 18-35 F1.8 Art series, 35, 50, 85 primes. The ThinkTank modular belt system is amazing for carrying lenses on your belt so you can easily switch between lenses.

Heres our lens bag for the C100. Don't forget, it has a 1.54 crop factor so bear that in mind.

Canon 24-105 f4. The IS is great and the f4 isnt an issue thanks to the C100's near night vision capabilities.

Sigma 35mm f1.4. Our main lens for the day. The f1.4 gives an amazing shallow look when you want it and on the C100 it is the equivilent of a 50mm

70-200 f2.8 IS. LOVE LOVE LOVE this lens. We have a few of them we love them so much. The MK2 version is a lot quieter on the IS and has shockless apeture changes. Lovely bokeh and an awesome all round look.

Canon 16-35 f2.8. Our wide lens and steadicam lens. Love the wideness for Steadicam shots and the ability to punch it in is very useful.

Here are my thoughts on wedding lenses from most needed to least for a c100:

I recommend Zeiss over any other brand but they do require manual focusing.

1. 70-200 2.8. This lens will get you through 75% of the day when you're just starting out. 2.8 is crucial to get a nice depth of field during the ceremony versus the f4. I have used a 24-105 during the ceremony and do not like the look it provides (flat and 1 dimensional).

This lens gets you through the first looks, ceremony, and reception.

2. 35mm. A lens of this focal length will be a mainstay during the bridal prep.

3. 50mm. This can be used during the bridal prep to get more detail shots and is an ok lens for speeches. It also works great for dancing footage.

4. 85mm. Great for speeches, first dance, and festivities (cake cutting, bouquet and garter)

5. Canon 24mm or 16-35mm for steadicam/sliding shots. These are great and really prefer them over Tokina's 11-16mm which I think is much too wide and is a pain to deal with outside on sunny days.

I really prefer primes but a good alternative for #2 and #3 would be the Sigma 18-35mm 1.8. It's sharp across all the ranges and apertures and can be great for getting good coverage during the bridal prep without switching lenses. The only reason I don't use it is because I recently picked up a Zeiss 35mm and 50mm.

I recently sold my 24-105 because the bokeh and sharpness is lacking in my opinion for weddings. Here is some footage I used it for last month during the first looks (front angle), ceremony (right side angle), and the reception dancing.

Dave and Grace's Highlight Video on Vimeo

I think it's a great lens when you can construct your scene but it looks "ordinary" during weddings when the subjects and foreground/background may be too close.

Has anyone used the Sigma 50-150mm f/2.8? It's for crop-factor cameras, like their 18-35mm f/1.8. We're getting a 2nd Canon 70D and I thought they might be a nice option at around $900, and then I can keep our Canon 70-200mm f/2.8s for our 5d Mark iis

I always assume two different shooters will split up, so I'd have two wide lenses:
Either the Sigma 18-35mm f/1.8 for the 70D (and only $800, great reviews, and works with autofocus)
Or Canon's 16-35mm f/2.8 for full frame (around $1500)

and each of these for each camera I have:
Canon 70-200mm f/2.8 IS II
Canon 24-70mm f/2.8

or maybe, with 3 cameras, one of them have a 24-105mm f/4, instead
Then, of course, a macro lens

Wedding Video by RNB Weddings (http://rnbweddings.com/rnb-weddings-dj-and-videography/wedding-videography/)

Completely forgot about the crop factor!! Thanks Danny. Lots of great info on this post! Thanks to all.

I keep flipping back and forth if I should get the 24-105 kit lens or not. Factoring in the 1.5 crop factor makes me think if I should just go with the 24-70 f2.8 ver2 which at 70mm will be exactly 105mm on the c100. Then again if I do get the 24-105 as the kit lens, it's $600 (half price). Should I put that money towards something else?? I honestly don't see myself carrying around more than 2 lenses. I usually shoot weddings alone (no second camera).

Here is what I'm getting this Saturday in my package.... Please let me know your thoughts on any of the items:

Canon c100 with 24-105mm f4 IS (unless I change my mind about the lens)
Rode NTG-2 shotgun mic
Manfrotto Monopod MVM500-A (this monopod has feet, pans and tilts)
2 Extra BP-955 batteries (undecided if I should get 2 of these or get the BP-975)


Thanks for everyone's help!!!

John

2 Extra BP-955 batteries (undecided if I should get 2 of these or get the BP-975)

John definitely get two BP-975 not the BP-955! Two 975 will last a full day & you won't have to worry about charging. If money is an issue get the BP-970G which is much cheaper but doesn't have the LED's on the battery. Get the 24-105 as a kit lens you won't regret it, worth the extra expense & you can always sell it later for more than you paid for it.

Completely forgot about the crop factor!! Thanks Danny. Lots of great info on this post! Thanks to all.

I keep flipping back and forth if I should get the 24-105 kit lens or not. Factoring in the 1.5 crop factor makes me think if I should just go with the 24-70 f2.8 ver2 which at 70mm will be exactly 105mm on the c100. Then again if I do get the 24-105 as the kit lens, it's $600 (half price). Should I put that money towards something else?? I honestly don't see myself carrying around more than 2 lenses. I usually shoot weddings alone (no second camera).

John

I would get the 70-200 2.8 (non is) if you can afford it or get the 70-200 f4. The 24-105 simply doesn't have enough reach during the ceremony unless you're satisfied with a medium shot of the couple.

A good grab bag would include

11-16 2.8
18-35 1.8
50mm of your choice
70-200 2.8 of your choice

Okay, thanks Nicholas. Do you own both type of batteries? The camera comes with one BP-955 already so I was either going to get 2 of the 955 or one 975 and one 955. Does that make sense? Is there a significant difference in battery life between the two? I know if depends on how you shoot but on average how do each of these perform on wedding day? I've read that the 975 prevents the battery door from being closed, is that a big deal? Also, do you find the differnce in weight to be an issue?

I agree with you regarding charging throughout the wedding day, I don't like doing that. On a normal wedding shoot, I start around 8am and finish at about 1am or after the last dance.

Anyone have any tips on where to mount the receiver for the wireless lav mic on the c100? I can utilize velcro if I have to. As well, has anyone used a good LCD hood or eyepiece cup? I'm not sure how the LCD screen performs in daylight.

Thanks for everyone's help!

I would definitely recommend the Zacuto Z Finder for using the LCD outside when it is sunny.... both the lcd and viewfinder (can't see waveform) are useless outside:

Amazon.com: Zacuto C100 Z-Finder Pro Optical Viewfinder for Canon C100 LCD, 40 mm Lens Diameter, 1.8x Magnification: Camera & Photo (http://www.amazon.com/Zacuto-C100-Z-Finder-Viewfinder-Magnification/dp/B00DHZRDLY/ref=sr_1_1?ie=UTF8&qid=1395278918&sr=8-1&keywords=zacuto+c100)

Unfortunately I don't think there is a cheaper alternative at the moment.

I would definitely recommend the Zacuto Z Finder for using the LCD outside when it is sunny.... both the lcd and viewfinder (can't see waveform) are useless outside:

Unfortunately I don't think there is a cheaper alternative at the moment.

Not that I recommend it, but if you're ever in a jam (like your Zacuto went missing), some duct tape and cards out of your wallet will get you some shade and make you look sufficiently ridiculous so that you never let it happen again :)

Has anyone used the Sigma 50-150mm f/2.8? It's for crop-factor cameras, like their 18-35mm f/1.8. We're getting a 2nd Canon 70D and I thought they might be a nice option at around $900, and then I can keep our Canon 70-200mm f/2.8s for our 5d Mark iis

I always assume two different shooters will split up, so I'd have two wide lenses:
Either the Sigma 18-35mm f/1.8 for the 70D (and only $800, great reviews, and works with autofocus)
Or Canon's 16-35mm f/2.8 for full frame (around $1500)

and each of these for each camera I have:
Canon 70-200mm f/2.8 IS II
Canon 24-70mm f/2.8

or maybe, with 3 cameras, one of them have a 24-105mm f/4, instead
Then, of course, a macro lens

Wedding Video by RNB Weddings (http://rnbweddings.com/rnb-weddings-dj-and-videography/wedding-videography/)

I am using the 50-150 Sigma lens on my 7D for ceremony only, it's a good lens, except that the focus ring is a bit stiff, Im using a ring focus leveler to pull focus and that helps.

I recommend Zeiss over any other brand but they do require manual focusing.


I LOVE my Zeiss 35 and 85. They are exceptional primes for the C100.

BTW - I can't remember who originally pointed this out on the board, but don't forget that if you own a Zacuto Z-finder, you can pull off the rubber eyecup and put that round the EVF which gives you a fighting chance of working which way the camera is pointing outside. With some mood suppressants and anti-anger counselling, you may even be able to judge focus and exposure too.

I am using the 50-150 Sigma lens on my 7D for ceremony only, it's a good lens, except that the focus ring is a bit stiff, Im using a ring focus leveler to pull focus and that helps.

Does it work with Canon's focus? We'd be using it with the 70D. I know Sigma's 18-35mm f/1.8 works...

*LOL, Matt. Very nice. I just mentioned elsewhere, we had a bad day where our Zacuto was missing. I grabbed some duct tape, some cards out of my wallet, and made a square shaped shade shield that did pretty OK, all things considered, though it looked ridiculous enough that I will never forget the Zacuto again

This may also be a cheaper option in the future but the viewfinder's LCD is so damn small I think it will still be a struggle:

C Cup: https://www.kickstarter.com/projects/1841005141/c-cup-improving-the-viewfinder-of-the-canon-c100

And yes I loved my 50mm Zeiss so much I ended up grabbing the 35mm 1.4 recently despite the crazy high price.

The camera comes with one BP-955 already so I was either going to get 2 of the 955 or one 975 and one 955. Does that make sense? Is there a significant difference in battery life between the two? I know if depends on how you shoot but on average how do each of these perform on wedding day?

I have a the 955 that came with the camera and I got an extra 975. I start filming around 10AM till 11PM at which time I've drained both. I tend to keep my camera turned on most of the day. I do pack my chargers as backup in case the ceremony or speeches go on too long a 955 + 975 might not be enough. I really want to get another 955 or 975 just for peace of mind maybe even a knock-off like Wasabi for back-up only.


I've read that the 975 prevents the battery door from being closed, is that a big deal? Also, do you find the differnce in weight to be an issue?

You are thinking of the C300, the C100 has no battery door, you won't really notice size difference between the 955 & 975 while filming on the C100.

I have a the 955 that came with the camera and I got an extra 975. I start filming around 10AM till 11PM at which time I've drained both. I tend to keep my camera turned on most of the day. I do pack my chargers as backup in case the ceremony or speeches go on too long a 955 + 975 might not be enough. I really want to get another 955 or 975 just for peace of mind maybe even a knock-off like Wasabi for back-up only.



You are thinking of the C300, the C100 has no battery door, you won't really notice size difference between the 955 & 975 while filming on the C100.

Thanks Nicholas.

Does anyone have any experience using glidecams with the c100? I'm trying to decide which would suit the camera better, the Glidecam 2000HD or 4000HD. I'm so jealous of those fancy shots I see on Vimeo. Again, this is for shooting weddings so I can't use the arm or body brace as its to bulky. Also, would I be able to use the 24-105 lens or is the lens not wide enough?

My apologies if this question has been addressed in another forum.

Thanks

When using my steadicam, I usually use the 11-16 on a crop. I just got the sigma 18-35 and have mounted it up as well, and it works at 18mm but any more and it starts getting tricky getting focus consistently if things are moving. The tokina lets you shoot wide enough that hyperfocal is in your favor. Not sure how well they would work on the AF upgrade on the C bodies but its worth looking at as if the lens doesnt hunt too bad you could pull of some fantastic shots with some more standard focal lengths. A 24mm shot nice and wide open (thin DOF) on a steadicam can give some great looking shots when your looking to isolate a target.

I use a glidecam and definitely go for the hd 4000 for the c100. You really need the heavier glidecam to get smoother and more easily controlled shots. I'm using 5 weights on the bottom of each side for a c100 with a lens, quick release plate, and top handle attached.

For lenses, I would recommend the 11-16mm Tokina II or 17-55 ii is 2.8. The lens look amazing when stopped down and the zoom is all internal. I use it mainly for architectural/establishing shots but if you want a lens to capture people, I'd definitely go with a 24 or 35mm.

I use a glidecam and definitely go for the hd 4000 for the c100. You really need the heavier glidecam to get smoother and more easily controlled shots. I'm using 5 weights on the bottom of each side for a c100 with a lens, quick release plate, and top handle attached.

For lenses, I would recommend the 11-16mm Tokina II or 17-55 ii is 2.8. The lens look amazing when stopped down and the zoom is all internal. I use it mainly for architectural/establishing shots but if you want a lens to capture people, I'd definitely go with a 24 or 35mm.


Edward, how long can you go until your hand gets tired? That's what I was worried about getting the 4000. Thanks

You can really only go for 15-30 second shots at max ( prefer not to go for anything longer than 5-10). It really wouldn't work for longer periods without a vest, especially if you want to avoid any long term injuries.

The problem with an HD 2000 is that you wouldn't have enough weight on the bottom to achieve any sort of dynamic balance for the c100.

You honestly don't want to be holding it for longer than you need for a shot. You're putting an unhealthy amount of weight on your shoulder and I've met someone who taught a seminar that caused long term damage to his shoulder from using so much glidecam early in his career... then again it could have been a plug for steadicam!

I would also add that even a vest with the Glidecam can be brutal, and I mean BRUTAL!

The problem we had with ours was that without a monitor you find your holding the rig out in front of you. This is like holding a heavy box out in front as it pulls on your back and puts the weight down your knees.

After a wedding day I literally couldn't walk for half a day.

We then switched to a Steadicam pilot and the monitor means you hold the rig to your side and the weight now goes down your buttocks. Much softer on the knees and back.

Yeah I use a glidecam for architectural shots and some bridal prep (if there is space) but my partner is actually my second that shoots with a steadicam pilot. He is responsible for longer steadicam shots like the photo session and dances.

We then switched to a Steadicam pilot and the monitor means you hold the rig to your side and the weight now goes down your buttocks. Much softer on the knees and back.

Thats worth knowing Danny, thanks. We really struggled with the Glidecam vest to the point of selling it last year. Maybe we'll look at the Pilot instead.

Hi to all, seems like we have some c100 pros here so I want to take advantage with some questions. I just picked up my new c100 last week (I already brought it to Canon for the AF upgrade). I hope these questions don't make me sound too ignorant......

Can someone explain the different frame rates that this camera has (60i, pf30, pf24, 24p) what on earth is the difference between pf24 and 24p?

I shoot only weddings. Having said that, does it not seem practical to shoot everything in 60i? For reasons such as slow motion, and doing quick pans, etc. My eyes don't see that "filmic" beauty in shooting 24p that everyone talks about. When I set the camera in 24p I get that strobe effect even if I'm slowly panning. To be honest, I don't do much panning but what happens when I shoot the bride and groom moving around or walking or dancing at the reception, won't this screw the editors up when they try and slow mo it? Is it just me that doesn't grasp the concept of shooting like film?

Also, I'm curious to hear from wedding shooters as to what picture profiles you guys use. For me, so far it's a toss up between Wide DR and EOS standard. Any thoughts on these?

Thanks in advance to all for your help!

Hi John, unless you have a compelling reason to shoot EOS Standard don't do it, it's a cheap look, go Wide DR. 60i is a very video-ish look if you don't see it now give it some time, you will train your eyes. I can spot 60i footage in seconds compared to 24P. When panning in 24P your pans need to be slow & elegant, can't go panning crazy it won't look good.

Handcrafting Unique Wedding Films with the EOS C100 Digital Video Camera on Vimeo

Thanks Nicholas, so what do you recommend? Shooting at 24p and the shutter set at 1/48 or 1/60?
I'm assuming you can't use slow motion shooting at 24p right?

Also, in regards to the picture profile, you leave it at WIDE DR all the time? No colour grading in post right?

Thanks for your help.

Shameless plug: I have an as-new Sigma 50-150mm OS (the newer version).

I love this lens for event work! f2.8! OS! Less expensive, way less than the Canon equivalent! As good? Find the online reviews and judge for yourself.

Not doing much of that any more, so it is for sale in the Classifieds section of this site.

http://www.dvinfo.net/forum/private-classifieds/522986-sigma-50-150mm-os-1-4x-tc-canon.html

Can someone explain the different frame rates that this camera has (60i, pf30, pf24, 24p) what on earth is the difference between pf24 and 24p?

The following is grossly oversimplified, but hopefully gets you started:

You've bought a "cinematic" camera, so forget interlaced (the i suffix) formats. These are legacy formats for delivery to older TV systems.

The number relates to Frames Per Second - 24 is the traditional cinema frame rate and part of the "grammar" of cinema - you may not know why it looks "right", but many people hated the HFR version of the Hobbit - they subliminally associate higher frame rates with TV/reality/soap operas vs the more dreamy, immersive experience of 24 FPS.

So, if you want to make films that look more "cinematic", use a lower frame rate - either 24 or 30, as you're based in North America and may want to deliver things on NTSC DVDs for example (30 - actually 29.97 - frames per second.)

Use a 180 degree shutter - for 24FPS, that's 1/48th shutter, 30FPS 1/60th etc.

PSF is Progressive Segmented Frame - it's Canon's way of wrapping a progressively captured signal as an interlaced format in the AVCHD wrapper/container. No point trying to explain it here. Google it for some context. Effectively, 25PSF, for example, is 25P.

But... there's a small gotcha. No biggie, but you need to be aware of it. When you import PSF formats into your NLE (eg FCP X), it will think you have an interlaced format and will effectively display it at half resolution, with the edges looking aliased. You simply have to tell your NLE to interpret the PSF as Progressive and all will be tickety boo.

At this stage of your journey, you may want to think about how you're using material, going forward. What are you delivering your films on? Do you want to re-use shots in other productions? Do you need to deliver stuff on DVDs ever? If it's all on the web, 24 FPS may work for you and you can develop your skills and experience based on that. On the other hand, 30FPS may give you more flexibility in future (and may make shooting with 60Hz lighting easier.) It's not that far off from 24, in terms of cinematic judder.

I'm sure others from your side of the pond will want to chime in on that.

Picture profile-wise, I use WDR all of the time. It will still benefit from some grading in post - it's not designed as a "baked in" ready to rumble picture look. But a gentle S Curve applied in post brings it to life.

One other thing - exposure. Use the zebra at 70%, make sure skin tones never go zebra, except for the absolute peaks, such as bald heads and cheek bones, and you'll begin to discover the joys of what the C100 can deliver.

As I said, grossly oversimplified, but hopefully a good start for you.

Ben.

Excellent summary, Ben. But to be totally pedantic, I'd like to clarify that it is perfectly possible to make 24p DVDs and Blurays from 24p footage. At this point, the choice of frame rate should be based on the "feeling" you want your footage to have: 24p for cinema or artsy documentary and 30p for the look of live broadcast stuff.

Edited to add: in NTSC land, like Canada, if you want the look of 24p, use 24p, not pf24.

Big respect Ben for taking the time to explain things to less experienced guys. A lot of guys on a lot of forums rather pompusly give pretty short shrift to people. The next generation has got to come from somewhere