Johnson Liv took our Pro Level I Boot Camp in May of 2011 and is still reaping the benefits today. Thanks for the update, Johnson! We look forward to seeing more of your work in 2013:

Hi Fletch and Canon Boot Camp team,

Took your beginner's course in early 2011, but met you guys mid 2010 at the first PhotoCine show. I switched from a Nikon D90 to 7D immediately after PhotoCine. The Canon DSLR video craze has really spread and everyone owns one, however not all know the full potential settings, I still get other owners coming up to me asking for advice on certain settings, ways to approach audio issue, picture profiles, etc. I've already had plenty of return investment from the course alone many times over and still working today with an online site. The studio just happened to own two 5dmk2 , and also three Panasonics which sees occasional use. I have recently sold my 7D and confidently purchased the 5dmk3 and looking forward to putting it to use. Thanks to the great team and hospitality, Snehal, Tom, Fletch, Chris and the Boot Camp family.

Here's the latest vid I got to shoot using the 5dmk2:

Name: Johnson Liv
Company: nineoutof10
City: Los Angeles
State: CA

Which lens is the sharpest for HDSLR digital filmmaking?

We can’t answer that definitively.  But it’s a close race.  On a large movie theater screen we could see certain lenses pull into the lead.  But for now, on the internet, we’ll have to settle for the best resolution Vimeo offers.

(above – The imagery we put up to test the lenses.)

These tests came about because I wanted to see, like most digital cinematographers, what’s the sharpest lens…especially when you’re shooting with the full-frame Canon 5D Mark III.  We were tired of listening to internet “reviews” and “opinions”. We wanted to see for ourselves.  We compared the “average” lenses in use today with the top drawer Zeiss CP.2 85mm and a lens I bought in college, the Nikkor 28mm f 2 prime. (It cost me $279.  In Obama dollars that Nikkor cost me $2,790.)

We tested five lenses: three Canon Zoom (the EF 28-135mm f/3.5-5.6 IS USM, the EF 24-105mm f/4L IS USM , and the Canon EF 70-300mm f/4-5.6 IS USM),  the Zeiss 85mm CP.2 prime and an oldie but goodie Nikkor 28mm f2 prime.   Note the white fine hair, which sometimes makes it much easier to pick a leader.

Which one is the ultimate focus winner? What’s the best wine? What’s the best city to live in?  We don’t like to tell people what to think.  Decide for yourself.  Let us know your pick in the comment box below. If you have your own test results you’d like to share, email trevor@theassociation.tv.

Of course, if you are shooting a feature with critical focus shifts, the Zeiss CP.2 will trounce the other lenses. It focuses like butter in tiny increments unmatched by most lenses.  Of course, if you’re not shooting a feature yet but want your film to look like a feature, it’ll make you look very good.

We’ll review the Canon “L” series lens next.