PLEASE HELP!!! What lens or lenses for wedding videos???

[John Armando]

Originally Posted by Edward Calabig

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

[Edward Calabig]

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!

[Danny O'Neill]

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.

[Edward Calabig]

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.

[Dave Partington]

Originally Posted by Danny O'Neill

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.

[John Armando]

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!

[Nicholas de Kock]

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

[John Armando]

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.

[Seth Bloombaum]

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-...-tc-canon.html

[Ben Giles]

Originally Posted by John Armando

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.

[Bob Drummond]

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.

[Saf Suleyman]

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