Michael Christensen

I have a Tameron 17-50 f2.8 that I really like, because it is a good focal range for the 60D, as fast as any other zoom, and only $300/350 second hand. However, I have definitely moved past that lens at this point. If you're shooting short films and can afford the time to switch lenses your best bet is probably old, prime lenses. The term "prime" refers to fixed focal length lenses. They are generally faster (which means good for available/low light and plenty shallow) and fully manual (which is ideal for video). There are many old lenses from many different manufacturers that, with the right mount adapter, are compatible with the 60D. With the 60D’s sensor size there is a crop factor of 1.6, which means that 50mm lens (which is a standard lens on a 35mm sensor) approximates 80mm (a slightly telephoto lens on the 60D). If I were you the first lens that I would buy would be either a Nikon Ai 35mm f2.0 (f1.4 if you can afford it) or a Nikon Ai 28mm f2.0. I own a 60D and I am very happy with it. That being said, it’s not the camera I would buy today. The Panasonic GH2 seems to be the best around at the moment… and it’s less expensive! Do some research on the GH2. It’s an exciting camera. Plus, it is mirrorless and has a shorter distance from the face of the lens mount to the sensor, which means that just about any lens can be adapted to it. For instance, Minolta and Canon FD lenses (excellent glass, mechanics, and affordability) can be adapted to the GH2 but NOT the 60D. You may also want to consider the next generation of cameras (the ones that have not even been announced yet), which will almost certainly be released sometime in the next year. When Canon finally releases a replacement for the 60D it is likely to be a beast. Of course, if you currently own no camera then you probably want a camera in your hands as soon as possible. If I were you I think I might get a GH2 and a collection of very affordable Minolta primes (28mm, 35mm, 50mm, 135mm). If you’re really, really new to cinematography a collection of manual prime lens will teach you a great deal about the craft. Sorry if that is a bit long winded and sorry if I assumed too much about how "new" to cinematography you are. Best of luck.

I have to shoot a product that is inherently very shiny, and my client wants me to kill the reflections as much as possible. They’ve had a stills photographer, with a studio full of every kind of light, work with this product, and it seems there is only just so much that can be done. I’m really just trying to hedge my bets for the next shoot. Thanks for humoring me, by the way. I know it’s a newbie question, but I’ve never had to use a polarizer before.

I know that polarizing filters are often used to mitigate reflections from sunlight on water, windows, etc. I was just wondering if they would have the same effect on relections from a large, diffuse tungsten source. Thanks.

Hi All, I was wondering if anyone would care to discuss the relative merits of Matthews diffusion fabric and more economical solutions, like a bed sheet. Thanks.