Starter Lens?

I'm starting film school next spring. This is a mid-life career change for me, but something I always wanted to do. Life just got in the way.

My super supportive wife went big for my 40th birthday and got me an URSA Mini 4.6k camera. I'm still learning the basics of this camera and before I drop a ton of money on a lens I'm not sure I'll even need, I wanted to see if there were recommendations for a starter lens? I've been looking at a Cannon EF 75-300MM lens, so I can stick with the existing mount just test out the camera without breaking the bank. I'll be focusing on documentary film making if that helps with lens selections. Right now I just want a good, fairly universal lens that I can use to perfect my camera skills, hopefully something I can use though-out school as well.

I'm also interested in finding out what is a good lens for film makers. Should I expect to have a few high caliber lens in my arsenal or just one 'go to' lens?


Any advice would be greatly appreciated!

If you are documenting wildlife, that zoom may be useful, but its shortest focal length may prove difficult if you’re documenting subjects that you want to be close to. You’ve no doubt tried the lens in the Mini Pro. What do you think?

Documentary encompasses a lot of different shooting possibilities. There is an area in the Cinematography forum that discusses compatible EF lenses. I’d think you want to start with a shorter zoom with constant aperture. Perhaps a 24-70mm or something with a broader range. Even a modest 17-55mm may be a good choice if your subjects are often individual people.

Although I use a Canon stills camera, I’m not an expert on EF choices compared to most people here. But I know the process involves you setting a budget and knowing the types of coverage and demands of shooting on which you’ll concentrate. Cinematography is vastly more complicated than you might think if you’re coming from Canon stills photography. You will do well to follow many discussions here and you’ll be in good shape before you begin a formal film school. Shoot, shoot, shoot. Learn the camera. Shoot raw, BRAW, and ProRes. And do your own post processing with your free copy of DaVinci Resolve Studio.

Good luck and count your blessings beginning with your amazing family!



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Thanks for the advice Rick!

Most of the stories we'll be doing won't have much wildlife, we will need some wide angel shots but a lot of it will be close proximity/ interviewing. At least to start.

Unfortunately my URSA didn't come with a lens. I've tried looking for a BlackMagic lens to start me out with but I figured I'd go on the cheap at first and really figure out the camera then sort out my lens needs. I found a $40 50mm Cannon lens and it works fine for anything right in front of me. I found a pretty good kit on Amazon with a 70-300mm, a 50mm and a few wide angle attachments.

One thing I love about this camera is it doesn't bind you to any particular lens type so I'll always be on the hunt for lens at garage sales, thrift stores and everywhere in between!

I agree with what Rick is saying about the Canon 75-300 as being too restrictive even in it's widest setting. It's basically starting in the telephoto range then moves into the super-telephoto area. This would be a good choice only if ALL of your subjects are a fair distance away from the camera.

Even though many opt for zooms, I personally prefer all manual prime lenses dues to there usual speed advantage and hard focusing stops. For new lenses, it's hard to beat the Rokinon Cine DS line of lenses for there high performance to cost ratio. If I was to pick one Rokinon to start with it would be the Cine DS 35mm which can be picked up for less than $500. The Nikon 28mm 2.8 AIS (with an EF mount converter ring) is also a great prime lens and can be bought for under $200. If price was key, I'd opt for this one and even if it wasn't I still might start with this one as it's a fantastic near legendary performer and a very versatile focal length.

Since you're just starting out, go with a cheap, crappy superzoom. As you get some knowledge and experience under your belt you'll start determining which focal lengths matter most to you... which will of course change as you evolve in your craft, but at least that way you won't end up spending megabux on high-spec lenses that you end up not using because you didn't know enough when you bought them.

Generally speaking, I think primes are better for learning than zooms, but they tend also to cost more because only people who care about lens quality buy them. So instead, fake it... buy a cheap superzoom and use gaffers' tape to lock it down to a particular focal length and learn to shoot properly rather than relying on your zoom.

Even today's cheap superzooms generally have pretty good optical quality, and as a beginner you'll have plenty of far more important things to worry about like learning how to make an image that someone will enjoy watching, and save your money for when you know what you're doing.

Definitely don't get a single prime or a 75-300 (that's way too narrow for 90% of filmmaking unless it's only wildlife like Rick said) if you're just starting out. Either go with a cheap 17-50 2.8 or a better 18-35 1.8 or like Rakesh said, a Sigma 18-300 or something similar.

Maybe get a Canon 50mm 1.8 with it, you're going to need the low-light capability at some point with the Ursa's.

Danny, great gift, and congrats. Do you have the EF 4.6 or the newer Ursa Mini 4.6 Pro? As you mentioned switching lens mounts. Inlymthe Pro and PL version of the original UM 4.6 can swap out lens mounts.

Now for lenses, as previously mentioned, starting out with a fixed focal length prime will sharpen you skills quicker than shooting with a zoom. In school, most starting projects useually involve shooting with the “normal perspective” focal length lens, to get used to learning how to visualize framing a shot. On the UM 4.6, this would be a 35mm lens.

I have an excellent Zeiss ZF (Nikon Mount) 35mm f/2.0 prime, thst has a EF mount adapter and is in like new condition available, that you can have for $500 (a new Zeiss 35mm is $950-1200), plus shipping. My “gift” to get you started.
This is an all manual lens, which is good, as you need to learn how to control exposure and set yiur iris quickly, as well as pull an accurate focus. A lens gear can be easily added to this lens, several are available. We used this lens on our Ursa 4K for interviews, and it was lovely, nice cine type IQ. This is the same optics used on the more expensive Zeiss CP series lenses. Send me a PM if interested.
Cheers

I have a gaggle of pro Nikon glass form my days as a still photographer - and have used all of them on the Ursa. I use them with an adapter and they are fun - especially the 80-400 with a teleconverter! However - I am slowly building my Canon arsenal of glass as I get IS, auto focus and aperture on the camera, plus a correct zoom direction.

What I have settled into as a go to do everything lens is the Canon 24-105 F4. I also have the 70-300 you mentioned - and it works great. While you would think that the 105 length would be long enough for most applications - I have found myself needing a 135 focal length for most conferences/interview situations - so you would get some use out of the 70-300 for sure, but would probably be better served getting a 70-200 F4 or even better one of the old non IS 80-200 F2.8 "magic pipe" lenses. I'm looking for that next.

As for wide - I bought the Tokina 11-20 F2.8 and it works - but the zoom is the reverse of the Canon's, which really bugs me - so I will most likely replace that with Canon glass at some point. For some reason Nikon and others reverse the zoom direction - and it is NOT good to mix them when shooting - stick with Canon zooms or check that the direction matches if some other brand. You're always golden with fast primes.

I think with a Tokina 11-20 and a Canon 24 - 70 you have most of the bases covered. Later you can get fancy with a Canon 70-200 for close-ups and wildlife.


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I tend to agree with Denny Smith's comments and recommendations posted earlier but I would go one step further in recommending any of the Zeiss 'Contax' series of Primes and Zooms. They are Full Frame, in native C/Y mount but can be adapted to EF with simple ring or a permanent screw-on adapter. (eg Leitax)

Unfortunately, you cannot use a Speed Booster to adapt these lenses to your camera which would restore the FF Contax lens' original Angle of View but even so, two of the low cost Contax zooms, the 35-70mm f/3.4 and the 80-200mm f/4.0 enjoy constant aperture across the entire zoom range and all Contax lenses close focus with very large focus rotation in the 'correct' direction. (even the zooms)

For wide angle, that's easy, simply locate a Zeiss Contax Distagon 21mm F/2.8 as it arguably the best wide angle lens ever made with a 90 degree AoV, zero barrel distortion and focus virtually from the lens to infinity at f/5.6.

Look out for the rare APO 100-300mm Contax zoom with the entire Contax range available on ebay where the best quality samples, prices & shipping currently out of Japan.

My current Sony S35 'international documentary travelling' set includes a C/Y to E-Mount Speed Booster with the Zeiss 50mm F1.7 and 21mm f/2.8 primes plus the 28-85mm f/3.5 and 80-200mm f/4 zooms. For nearly 10 years with literally dozens of international doco shoots, this lens setup has proven extremely satisfactory.

I second the Contax C/Y lenses, but the 21mm would be really hard to find and it'll fetch an exorbitant price.
Since the colors of the Sigma 18-35mm can be matched to Zeiss C/Y pretty easily, I'd go for that one plus the 28-85mm or add some of the primes. The 28-85mm is a great lens, but it's a one-touch zoom.

I second the Contax C/Y lenses, but the 21mm would be really hard to find and it'll fetch an exorbitant price...

Remarkably, there have been several 21mm Distagons listed out of Japan recently - Excellent to Mint condition but asking only a tad over UD$1000 which is very 'low cost' for this wide angle lens. Do you have one Uli? I also have the Contax 25mm f/2.8 which is a very nice 'consolation' lens if one cannot find or afford the legendary Distagon 21mm.

...Since the colors of the Sigma 18-35mm can be matched to Zeiss C/Y pretty easily, I'd go for that one plus the 28-85mm or add some of the primes. The 28-85mm is a great lens, but it's a one-touch zoom.

Yes, the 28-85mm is a real 'sleeper' of a zoom and low cost too with excellent optics as tests on REDuser site attest but it cannot be used with a matte box. However, there is a low cost Contax 28-70mm with three control rings so not 'one touch' therefore extends only marginally over the fixed length. It was made for a Zeiss SLR 'package camera' by a third party maker but it does have the famous Zeiss T* coating so it's not a 'bad' lens. I used one exclusively on a matte box with some Schneider 4x4" optical filters for a major corporate shoot in Kyoto back in 2014 and was surprised how sharp and how well the footage graded up.

I've not seen a Distagon 21mm in mint condition among those really sold in the end below 1.400 U$. I'd be very careful with offers around 1K, honest sellers will tell you they have some haze or similar problems.

I had one from a friend for testing and while it's a great lens, it's also a big lens

I have most of the others, except the 100-300mm (too slow for me, since I own the 180mm f2.8). At 20/21mm I've used a Minolta or an Olympus for photography with great results, but these are slow too. From that era, they are second only to the Distagon, but the Minolta can't easily be adapted to EF and the Olympus has some strange flares. The 25mm C/Y (which is more like 26mm) is sharp only in the center WO, but improves a lot when stopped down.
So I finally got me the Sigma 18-35mm for the UM46P and I love it. It even has decent manual focus, but unfortunately not the focus throw of a Zeiss Contax. But it is much better than any vintage wide.

That low cost Contax 28-70mm has quite different colors and the only one I ever had in my hands was pretty much crap compared to the real Zeiss/Yashica ones. But one shouldn't dismiss it, maybe they just have more sample variation. A separate focus ring is a must for film, IMHO.

[b]rhw Zeiss Contax C/Y lenses are great, bit are the same optics used in the Zeiss ZF/ZE series, which are easier to get at good prices, and the ZF csn be used with a Speed Booster, and has excellent manual Focus. I had a set of Contax prime with my Contax SLR and they were great. But the newer Zeiss ZFs are also very nice to use, especially the ZF 28mm f/2.0, same as the famous Contax 28mm f/2.0 “Hollywood” lens.
Cheers

... and the ZF csn be used with a Speed Booster...

Yes, the F/2.0 'Hollywood' is a great lens and remarkably for it's age, still commands a premium price. Does your comment imply that the ZF csn/Speed Booster combination could be used on EF mount cameras?

No, only on short flange mounts like MFT.

That's what I understood too - only MFT or E-Mount - which is why the RED EF mount and BMD EF mount owners need to select (and pay a premium) for much wider than normal FF lenses to adapt to their EF S35 sensors. Another reason for not buying S35 cameras with EF mounts if you want to use FF lenses.

Well, you can adapt Contax C/Y, many M42 and Olympus Zuiko to EF.

If that's not enough, the Sigma 18-35mm f1.8 is truly a great lens.