sam morgan moore

nikkors are fine on the 5d

I have from 14mm upwards

you need an adapter, preferably one per lens

that can be some backlash in adapters, tape can cure this

nikkors focus travel can go 'the wrong way' which can confuse a focus puller

modern nikkors without an ap ring you need a more expensive adapter from 16-9 net

DX crop lenses do not cover the FF35 5d sensor

My favs, 50 1.4, 35-70 MF, 14 2,8, 20 24 55 macro 28 3.5 PC

S

IMO here are the fundamentals that should drive your choice.

Canon has a short flange to sensor distance - you can never convert a canon lens to nikon (or sony?)

So if the next 'great DSLR' is not from canon then all the canon lenses may be 'redundant'

remeber the 7d and 5d are amazing cameras but they only scratch the surface of what may come over the next couple of years

BUT

If a future canon camera has for example a method to control the lens electronically that may only work with canon lenses

SO

It doesnt matter too much now but could be a difference in the future - either way could be the wrong way

--

Right now manual lenses are more suitable for motion picture use than canon AFs due to the long smooth focus throw

Ziess or nikkor, nikkor however focusses the 'wrong way' but are cheaper than zeiss, there are other options from the old school, Olympus, Contax etc

---

My lenses I use..

5d 24-105 IS - a bit barrelly at the wide end and a little slow - great for RnG

7d Tokina 16-50 2.8 good general lens

For both

Nikkor 50 1.4 - cheap and wonderful

nikkor 14 2.8 expensive but amazing on the 5d

Canon 70-200F4, very cheap used but not as fast as the 2.8

NIkkor 28 3.5 PC , nice old lens

NIkkor 55 2.8 macro - legendary look

You see my bigger money is in nikkor but I have a couple of canon lenses suitable for RnG use

It can be a 'problem'

With the 5d you getting such thin DOF that you will end up shooting 4-5.6

With the 7d you may want to shoot around F2.8

Say you want 18mm at F2.8 that is very costly cine lens or a struggle to find on a stills lens

(remember many still lenses are soft wide open)

With the 5d you get a very cheap and good 24 5.6 solution to get a similar look

This is no more of a 'problem' than with Red for example, but typically reds are used with Expensive glass and most DSLR shooters are on a budget

S

I am looking for plans/blue prints for constructing a home made dolly system. What I need is something that is extremely light-weight and portable but sturdy enough to support a Red camera. I don't plan to do anything but simple tracking shots on rails made of pvc pipes.

 

Can anybody suggest what might be the best system for a do-it-yourselfer?

 

Thanks

HBS board may have some plans

I would say one thing : force = mass X distance - camera close to the rails = stable

the key IMO is to use a 'high hat' not sticks and mount your rails up high maybe on an aluminium ladder

of course this is not the same as a proper dolly with the operator on board

S

24-105 f4 L IS

you dont need faster IMO on a 5d - too little DOF

S

Phil

 

Hi, how you doing? I'll look into that.

 

GM

No firmware till next year, you could use a 7d!

Compressor works OK on best setting but takes ages, should be included in your FCP package

S

so my newer nikons will work on a 5D Mkii? I have a 24mm / 2.8, a 50mm / 1.4, an 85mm /1.8 and an 80-200m / 2.8 nikkors that I've recently purchased and wanted to make sure they'd work with an adaptor without issues.

this depends on the model - if they are G lenses - no proper aperture ring - then you need the complex expensive 16-9 adapters

if you have an aperture ring you are fine on cheapy adapters

S

Here is my first test..

Truro FIght Club !

Very simple summary

Jello is not a ignificant problem

720p50 slo mo the resolution is pretty poor

1080 looks similare to EX1/5d

Lower ISOs are preferred

S

A thought from the other end.

My profession is stills photographer, Im learning 'motion' at the moment

I learned stills on film, you never saw your results 'on set' the learning process was very very slow

One had to be conservative with lighting, and motion blur

Now I see digital youngsters progress SO FAST

because the review is instant and the costs negligable

OK film has the edge for the next 3 years on ultimate quality but as a learning tool digital just rocks

Look how film just dropped from commercial stills photography - the same will happen for all but the most extreme budgets IMO

While a school that has film is no bad thing I think that experience and skill will come with hours shot, do the maths and buy a 7d to learn and get those hours

I have concerns that expensive rigs keep too much control in the hands of the tutors - I learned at college by getting out with a camera (and some great direction and critiques from the tutors)

Additionally you might actually NEED digital skills and an understanding of handling some of their horrors (evil highlights etc) to cut it in the commercial world

Just because one can shoot digital in a sloppy lazy and unplanned manner it does not need to be that way

S

Only thing I'd like to see more of is INT lighting. The reel, sans one sequence towards the end is all EXT and while shooting EXT is often a pain, you should mix up the reel a bit with some lit INT scenes.

Interesting suggestion thank you - taken on board

having been using a 5d in a Pal country Ive kinda been steering clear of too much artificial light !

Now I have the 7d that has changed

Also I can access the beautiful EXT for free, while finding lovely INTs is not so easy

90% of the shoots had no budget and all had no crew !

But you think the framing etc is OK?

S

Hi, I have been a stills tog for fifteen years and started recording motion with the advent of the DSLRs last year

http://www.sammorganmoore.com/smmcom/blogger2.asp?blogid=61 (current showreel links)

Any hints??

SMM

please delete - reposted in correct area !

S

I meant focus with a Nikon adapter is beyond infinity as its barrell mark. They do focus at infinity prior to that mark on most lenses.

Forget accurate marks on still camera lenses - Ive never seen any that are right !

Best to make your own marks (like on the FF disc)

S

http://en.wikipedia.org/wiki/List_of_lens_mounts

 

Thanks loads for an answer. May I ask further: Would replacing the 5D2 or 7D's lens mount (body side) with a custom Nikon cut or modified mount solve the FFD problem and make the Nikon lenses provide an accurate FFD? What complications might I expect?

Nikon FFD is greater than canon therefore infinity can be gained on all nikkors when used on a canon with any $20 adapter

S

May I get a clarification on a point? Does the 5D and, presumably, 7D take Nikon MF, non-automatic, (AI) lenses with adapter and still be able to control aperture and shutter manually?

The only way to control them !

S

I know its been done a lot and I know there is an adapter from Nikon mount to Canon Eos but I have a few nagging questions,

 

1) Firstly, is the adapter compatible with the majority of Nikon photo lenses out there?

 

2) I've heard that the lever for automatic iris opening and closing for shots/viewing on the Nikon lenses gets in the way of the adapter and has to be removed, is this true of all lenses and adapters?

1) yes - but not modern G lenses that are electronic interface - they can by controlled by adapters from 16-9.net (or a bit of card wedging the aperture lever open - not very pro method)

2) not true but some lenses have a little sticky out thing to protect the rear element - famously the 50 1.2 manual - this can be filed off without affecting the function of the lens

Some uber wides 8mm for example only work on nikons with the mirror locked up - no worky on canon (although I donts see why you cant lock the mirror then put the lens on but you are F'd if you lower the mirror some how b4 you remove the lens)

in summary 90% of nikon manual primes are absolutely better than fine

I have, 80-200, 50 1.4, 14, 20-35 400 etc - all great

S

My favorite shots of yours were from 1:48 to 1:52... I was impressed with the stuff you've shot. It seems like you do a lot of steadycam work. Is this the case or do you do a lot of smoothcam in post?

No smoothcam

Car->Car - blackbird stabiliser + a little added mass for gain in rotational inertia

Inside car handheld on my own rig (www.halfinchrails.com) which uses intelligent mass placement like a steadicam but no gimbal and allows follow focus

Other shots are steadicam pilot - opening sequence

also a tripod and lots of shoulder mount

Ta

S

very true! it has happened quite a few times that a stills photographer shoots my set-ups in my set, my lights and ran away with the best photography award in the bi-annual advertising congress!

This is cheeky indeed

It emphasies the point that the skill is the creative direction etc

operating the cameras is more a technician role

Im trying to provide that creative input on motion and stills shoots, the fact I have a stills background is IMO irrellevant

S

Vimeo Link

Hi, I have been a stills tog for fifteen years and started recording motion with the advent of the DSLRs last year

Any hints??

SMM

I have been a stills 'tog for 15 years - im learning and loving motion now

my move to motion was brought by

- cheap technology (5d) and my existant prime set

- my desire to keep providing what my customers will want - and IMO that is stills for print motion for web

I see it as essential to learn motion to stay in business as a stills 'tog

Some thoughts..

'Jack of all trades good at none'

Well operating the cameras is just practice - vision content and concepts are the key elements - and those skills are one and the same

'Grabbing Frames'

I dont see the technology being there now (frame rate shutter issues)

I shoot a motion take and then some stills of the same concept

'Lighting'

Stills cameras like the D3 are now usable at 800+ ISO, meaning they can create on a set lit for motion - I shoot less and less flash and more with my daylight flouro light

Most important if I where a client hiring models lights location etc for a stills shoot I would hire the 'tog that could provide a short motion sequence as well as the stills

In a way that is different from cinema - it is maximising a still shoot

So the still industry will change to account for motion, proper cinema will continue as normal

My guess

SMM

I have a face like a bloodhound's funeral, but if you can stand the sight of it, you can see me talking about the Canon 5D at www.reel-show.tv

 

It's a bit hidden - hit the middle one of the three "Plus Camerimage" listings under "latest programs".

 

-P

You seem a little down on these cameras ?

In one breath you are talking about £200 kit lenses and the next comparing the codec to RED

How do compare with say the EX1 which is in the similar price range once your 5d is tricked out a bit

S

I have been practicing moves and pulls with the 5d..

http://www.vimeo.com/5799415

there is a BTS too..

http://www.vimeo.com/5834091

S