Re: Soliciting Comments on Startup 5D System
 

Steve,

I've shot at rescue ranch type facilities before and if they are really trying to reintroduce the animal, they want as little human contact as possible. With more telephoto you can shoot from a position that is with the animals and caretakers best interests in mind. But if you can't get footage of the thing you want to save what's the point?

I didn't mean to stress the telephoto aspect, I just thought it needed a little explanation. Wide for me is more important but sometimes there's a real need to get closer.

And it seems that maybe you and your daughter already agreed on the 5D iii camera, I hope she enjoys it as much as I will mine.

As far as the bag is concerned I think you should get which ever is bigger. At least an extra hole or two after what you finally decide. Good luck!

Re: Soliciting Comments on Startup 5D System
 

Steve, regarding the backpack, I use the Fastpack 250. I'd recommend either this or the Pro Runner 350, depending on the lenses she plans to use. The 250 works for six-inch lenses like the 100L, but not for the longer, telephoto zooms. The 250 has an open area up top that can hold odds and ends while the 350 is 100% dedicated to still camera gear. Also, the 250 allows side access to the camera. I can carry the camera, four lenses, accessories, follow focus, and a shoulder rig, and fit it (barely) under an airline seat. The 350 is slightly bigger and might not fit in planes that have bulges for entertainment systems.

To me, the most important aspects are lenses, sound, and stability. Regarding stability, I recently picked up the Silk Pro Pod 600 aluminum monopod, which is short enough to fit in my carry-on luggage. It's solid (many carbon fiber monopods have wiggly joints), and weighed about the same as the one solid $300 carbon monopod I sampled. Yes, a tripod is more stable, but would require a good case and would force me to check my luggage on every flight.

I also use Redrock's The Event rig. I can rest the monopod on my belt (or the ground) to take the weight off my back. On the ground, the camera can pan, but tilting is limited. In the belt, you have more freedom of movement. To walk, you need to remove the monopod from the belt and use your arms as shock absorbers. The inertia of the monopod adds a bit of stability.

If your daughter is not tall (I'm 6'2"), she might need a belt with a "holster" to rest the monopod in.

When on the monopod, I use the left handle of the rig and rest my right wrist on the right handle while controlling the follow focus. The Hoodman x3 Loupe provides another point of contact. (It's good, but the Z-Finder is nicer.) When using the monopod, I don't really need the shoulder/chest attachement of The Event, but I still recommend it. You can adjust the handles and shoulder bar into a fixed "tripod" for locked down shots. You just have to be creative to find a table or car to set it on. Of course, it's great for on-the-ground shots. :)

For a political feel, I like the idea of shooting handheld. It's visceral and present. Shooting from a tripod can feel dull. A Steadicam, slider, or jib can be too slick.

Regarding lenses, I really like the 100L handheld. It's not so big, heavy, expensive, and flashy as the 70-200 zoom, and it's faster than the 24-105 zoom. Also, it allows macro shots, which might be handy when showing people working with their hands. For the 70-200, I'd want a tripod. The 24-105 is usable handheld. (I've used it without monopod assist.)

With the 5D2, I'd stick with f/2.8 and faster lenses. With the 5D3 (and it's extended ISO capabilities), the 24-105/4L would be excellent. Add a fast 50mm and you're set.

Best of luck with your purchases!

Re: Soliciting Comments on Startup 5D System
 

Thanks, Jon. A lot to think about. I haven't seen many other recommendations for the 24-105mm f/1.4L. Do others think it would be a good choice for the 5D Mark III and suitable for low light video?

Re: Soliciting Comments on Startup 5D System
 

The 24-105 is a great all round lens for the 5DIII due to its useful focal range and image stabilisation (which is extremely useful with a monopod or hand-held). Personally I prefer it to the 24-70 that I currently own. For most situations it's the perfect match for a full-frame camera.

However, with a maximum aperture of f4 It's a poor choice, relatively speaking, for low-light shooting. Indoors with reasonable lighting is fine, you can boost the ISO of the Mark III to compensate. But for real low-light situations (dimly lit streets, candlelight, lanterns etc), you'll want something faster. That's why Jon suggested adding a fast (ie: f1.4 or 1.8) 50mm lens, because it will cover those very low light situations.

Re: Soliciting Comments on Startup 5D System
 

Thanks, Josh. What do you think of a combination of the kit lens, a Canon EF 50mm f/1.4 and a Rokinon 85mm f /1.4 to cover most normal and low light situations? I've seen some great reviews of the Rokinon.

Re: Soliciting Comments on Startup 5D System
 

The 24-105 on the 5D3 would really be ideal for documentary style filmmaking. It doesn't have super-shallow DOF, but that's hard to manage on the fly anyway. It has IS, which is great for handheld use, especially at 105mm. The range is ideal, going from 24mm (which I see as the maximum width for a natural, non-effects look) to 105, which is a nice medium tele. The downside on the 5D2 is the f/4 maximum aperture. I find that under artificial lighting, f/2 is often where you need to be; however, the 5D3 gives you two more stops of light performance. That moves you from f/2 to f/8, making the f/4 of the 24-105 very practical, indeed.

You mention the Rokinon 85. Note that it's a manual focus only lens. The Sigma 85/1.4 is more expensive, but has AF, which might be important for photos.

Re: Soliciting Comments on Startup 5D System
 

I recommended the 24-105mm F/4L way back in reply #10. It's a lovely lens & a real bargain when bought as the kit lens with the camera. The extra low light capability of the 5D3 negates the F/4 aperture to a great degree. We shot two weddings last weekend using the 5D3 with 24-105mm F/4L where for such low light interiors we would never dream of using it on a 5D2.

Re: Soliciting Comments on Startup 5D System
 

Sorry to be picky, but 2 stops down from f/2 puts you at f/4, not f/8. With shutter speed and ISO, doubling/halving the number will equate to a one stop difference. With aperture however, you need to multiply or divide by 1.4 to adjust by one stop. Looking at simple maths (f/1 x 1.4 x 1.4 = f/1.96 (ie f/2) we can see that doubling the f-number (eg f/2 to f/4, f/4 to f/8, etc) is equivelant to 2 stops difference.

So if the 5dmkII requires f/2 in lowlight, then the 5dmkIII's 2-stop advantage means you require f/4. The big kicker with this is that anybody who is used to the 24-70 on the 5dmkII, can now switch to the 24-105 IS on the 5dmkIII, still have a one stop advantage, plus gain IS and an extra 35mm on the long end - so I think this lens will become a whole lot more popular than it has been.

Re: Soliciting Comments on Startup 5D System
 

Major DUH! You are 100% correct, sir! I stand red-faced and corrected. :)

So... the two stop difference isn't as awesome as I had mistakenly claimed, but it still makes the 24-105/4L quite viable. It also means that in low light, we can shoot the easier to focus f/4 setting, rather than at the challenging f/2 setting.

Thanks for keeping me honest, John!

Re: Soliciting Comments on Startup 5D System
 

No worries, I'm sure you'd pull me into line whenever necessary too!

I do agree with you though that the 24-105 now looks a whole lot more appealing. given the mkIII's better sensitivity and ISO performance. And seeing as it's available at a nice discount as the kit lens, it would be a great first choice for a film school graduate!