Lenses for 5D Mark 2: Interview Setup

I still can't believe that there are professional video cameras out there that still only record audio at 16bit! Sony F900R... Panasonic HDX-900... and on and on.

ChasWG wrote in post #13641467
I still can't believe that there are professional video cameras out there that still only record audio at 16bit! Sony F900R... Panasonic HDX-900... and on and on.

Yea that is pretty silly, but they know they can get away with it because people will still buy the camera knowing it is what it is and that audio will be captured off camera anyway by a much more professional sound setup. Not to mention both of those cameras, while still out and about, are both aged and being replaced by newer technology. I mean the Sony F900R isnt even a 4:4:4 color space and the Panasonic is tape and 720P. Now a days it seems if you arent shooting film, people are shooting high end digital in 4:4:4 and 4K+.

In the day to day production world both those cameras are still heavily used. Many shows shoot exclusively on the HDX-900 and sound is still captured directly at the camera.

I'm not saying these are the greatest cameras out there, but many of my camera owner/operator friends have found that it's your clients that tell you what camera to buy. Many still want to edit off of tapes so they hire guys with HDX-900s. Some shows are still using CineAlta F900s because that's what they want or that's how their edit bays are built. Yeah, who wouldn't want 4:4:4 color space, but in many cases, it's just not needed.

I have other friends that don't want to deal with tape stock and have invested in other media type cameras. The Sony F800 is actually pretty cool. It's one of the few that can do AES-EBU audio. Meaning that via my Sound Devices 552 mixer I can send that camera 4 discrete channels down the standard two XLR cables. Why this hasn't caught on with production companies is beyond me. Not enough people have the ability to gather AES-EBU or send it out of their audio bags.

But there is a rise in shows that I work on that are starting to use the Sound Devices 788T more and more. 8 channels of discrete audio recorded at 48K, 24bit and the ability to manage all the timecode responsibilities better than any camera can is really cool.

I just wish I had the extra $8000 to get a fully rigged 788T with the solid state drive and the CL-8 controller... *sigh*

Going with what Chas said earlier, would a 70-200f4L do the trick too? Most of these shots are going to be in an open area where I can control how close or how far I need to be.

I use my 70-200 f4L all the time. As long as you have enough light, it's a great lens that doesn't cost too much! Having IS on it would be killer if you can afford it, otherwise the non-IS version is just fine.

But in most cases you'll be shooting at either 1/50th or 1/60th SS. Even at 1/125th using the f4L you should be fine.

Enjoy it!