More and more professional photographers are adding DSLR Video to their services, and as a result, more and more are attending our DSLR filmmaker training. In two days they learn the fundamentals of DSLR Video and are able to apply what they learned immediately. Hear what Daniel Ray experienced when we “survived” the training:

I’ve been a professional photographer for 25 years. Over the last few years the need to provide clients with video has steadily increased. I flew from NC (where I’m based) to attend the 2-day workshop. I wasn’t disappointed and felt that the information was well worth the cost of the class and my trip.

The Association’s Canon DSLR Boot Camp gave me the opportunity to ask specific questions regarding my camera’s functions and best use as a film-making tool. The environment was calm, organized, professional and fun. Fletch and his entire crew were extremely informative and answered all my questions in a clear and uncomplicated way. I left the class feeling knowledgeable and confident. I highly recommend The Canon DSLR Boot Camp for everyone but specifically, professionals at any level.

Name: Daniel Ray
Company: Daniel Ray Photography
City: Greensboro
State: NC

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More and more professional photographers are adding DSLR Video to their services, and as a result, more and more are attending our DSLR filmmaker training. In two days they learn the fundamentals of DSLR Video and are able to apply what they learned immediately. Hear what Daniel Ray experienced when we “survived” the training:

I’ve been a professional photographer for 25 years. Over the last few years the need to provide clients with video has steadily increased. I flew from NC (where I’m based) to attend the 2-day workshop. I wasn’t disappointed and felt that the information was well worth the cost of the class and my trip.

The Association’s Canon DSLR Boot Camp gave me the opportunity to ask specific questions regarding my camera’s functions and best use as a film-making tool. The environment was calm, organized, professional and fun. Fletch and his entire crew were extremely informative and answered all my questions in a clear and uncomplicated way. I left the class feeling knowledgeable and confident. I highly recommend The Canon DSLR Boot Camp for everyone but specifically, professionals at any level.

Name: Daniel Ray
Company: Daniel Ray Photography
City: Greensboro
State: NC

In the rush to adopt the DSLR many videographers and filmmakers bring assumptions that might not be true in the DSLR universe.  For example: focusing.  Since I began shooting film and then when video came in, I would always zoom in to get focus and then zoom back out to frame up the shot. (This assumes you’d set your back focus correctly.)

This procedure doesn’t work on the DSLR zoom lenses.  It used to, but not since the last eight years.

Still lenses are built for still cameras.  Still lenses only need to be in focus the instant before exposure.  The zooming is already done. They don’t track focus when you zoom in and zoom back out again.  They set focus just as you press the button.

And everyone knows this except me! They tell me that the lenses used to track focus “back in the day” but not any more.

Just thought you should know.  So use that magnify button to check your focus.  Or better yet, press the AF button when shooting video to check focus.  It’s faster that pressing “magnify” and rolling focus around.  I set my camera to “AF Quick.”  I set the selection point to one point Auto Focus. Now I know wherever I put that dot is where it’ll get my focus.   We’ll have a shoot-out on these two methods next time.

Until then, remember to send in any Homer Simpson moments you’ve had with your DSLR so we can pass it along to the teeming masses out there.

(I’ll stop filming when they pry my cold, dead fingers off my 70-200mm f 2.8.)

I found my 5D defective after owning since last April.  So Canon will fix it because I’m still under warranty.  But I’m letting you know so you can check your 5D Mk III.

According to Canon the HDMI cable should carry audio from any video files being played back in the camera.  Mine doesn’t. Nothing. Nada.

Canon tech rep courteously suggested I send it in for repair.  I said I didn’t want to be bothered.  That my Mac is also supposed to carry audio over the HDMI cable but doesn’t.  So, I told him I thought it was in some sub-menu somewhere. He said it wasn’t.  I courteously thanked him.

I didn’t want to lose my camera for a week and get a note when Canon returned it that “nothing was wrong.”

So, I called Canon again.  Got a nice chap. He actually took the 5D Mk III he had at hand, found an HDMI cable, walked across the building to find a TV monitor with HDMI in, recorded a short video, played it back and told me “Yes, you should be able to hear audio coming over the HDMI cable out of the camera when playing back a video file.”

So I’m sending it in to Canon.

Be sure and check your HDMI out on the Mk III. If your’s doesn’t transmit audio, send it in while you’re still under warranty.  If you need to send it in go to “Product Repair” on the www.usa.canon.com site. They’re cordial and prompt.

There’s a screw on, close-up lens for the 70-200mm f 2.8 lens that enables breathtaking close-up shots.

It’s the Canon 77mm 500D Close Up Lens. It allows you to take stunning close-ups for commercial productions, food shots, electronics, wedding rings….  Getting ultra close really opens a whole new world of drama in the shots.

This close-up lens allows you to fill the frame and really get in close to the subject.

But with the 500D close-up lens you can see even more magic coming out of the 70-200 lens.

The look of this close up lens may make it one of the bargains of the year at $149 !  It certainly seems sharp as a tack.

You can order through EVS online.  Tell them Fletch recommended you call.  I don’t get any $ but EVS is kind enough to provide studio space for our boot camps. Call Casey at EVS 800 238-8480.

“Infectiously enthusiastic” is how I would describe Todd Cahoon. Todd’s passion for filmmaking was evident right from the beginning, and we are looking forward to seeing his HDSLR filmmaking efforts.

I am a working actor who always felt I had a calling for directing. I have been writing for a couple of years now and finally mustered the courage to learn the other side of the camera.

Directing actors, knowing what visually looks good, knowing story, structure, and dialogue, even editing were all things I could bring to the table as a rookie director. What I didn’t have was knowledge of the technical side. THAT I learned at the CANON BOOT CAMP! I am entirely grateful to Fletch, Celine, Nancy and the crew. I have directed and shot 5 short films since last year and I am in pre-production for my second festival film. Onward and upward! Good luck to you all.

Name: Todd Cahoon
City: Los Angeles
State: CA

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.

Choosing Your Canon Lens.

Spinal Tap is one of my favorite movies.  In it, Michael McKean makes the point that his amp goes to eleven.  (Even though “11″ is really the “10″ on the dial.)   There’s a parallel between Michael and the filmmakers who insist their lens must be an f 2.8 lens.  Let me explain.

The worship of an f 2.8 lens is a holdover from film days.  Film only went up to about 500 ISO.   An f 4 just wouldn’t do.  That was certainly true back in the day, because film stocks, with their relative low ISO’s begged for fast lenses.  Probably the epoch of this era was Stanley Kubrick and the lenses he had made to shoot ‘Barry Lyndon’.  (They are on exhibit at LACMA, which we’ll visit next week for another report on Lens Worship.)

But things have changed at least for digital SLR filmmaking.   Digital still photographers still need faster lenses because they’re shooting at 1/150th of a second.  Video lives between 1/60th and 1/50th of a second.  So digital filmmakers have less need for f 2.8 and f 2 lenses.  Since we now have Canon enabling clean digital film shots at ISO 2500 on the Canon 5D Mk III, we can live happily with an f 4 lens.  Here are some other pluses to consider before you choose a lens:

1) The f 4 lens lets us have an extra inch or two depth of field over the 2.8 lens. Isn’t that a blessing?  Or would you rather be out of focus more often and hope the director was so impressed with you bringing that big heavy 2.8 lens with you to the shoot that he won’t fire you?  Maybe if you supered across the bottom of the out of focus shot, “Pardon the fuzzy picture. But just so you know it was shot with a very expensive lens.”

2) if you really need to go to 2.8 and your lens only does f 4 you can always take your shutter speed from 1/50th to 1/30th and open up 2/3 of a stop.

3) If you check the MTF charts on the Canon site you’ll find that the f 4 lenses are better performers in microcontrast and resolution (according to Canon).

You want dotted lines close together.

So as you shop for your next Canon lens, don’t close the door on the f 4s.

I’m convinced f 4 is the new 2.8.

And if you still have the thirst for f 2.8, I have some stickers I can send you to paste on your lens.  You can be like Spinal Tap with an amp that goes to eleven.

EXTRA BONUS