Good video lens for my 7D?

[Brian Brown]

If you're just shooting video, don't forget to look at vintage MF glass. There's some great buys out there on old Nikon, Contax, Pentax, and M42 mounts (ironically, NOT Canon FD mounts). A friend gave me his Pentax 50/2, and it does very well wide-open. I'm now looking for a 50/1.4 to get an extra stop.

MF lenses give a lovely focus throw (around 180 degrees or more) compared to modern AF lenses, and most are built like tanks.

Although not a vintage lens, a great piece of glass for medium telephoto work is the Canon EF 85/1.8. Super low-light performance, great contrast and sharp as a tack. On the plus side, it also takes great stills. ;-)

My three go-to lenses that cover 95% of my productions now are the EF 85/1.8, the Tamron 17-50/2.8 VC, and the old Pentax 50/2. I'll be shopping for the Tonkina 11-16/2.8 very, very soon to give me a super-wide.

The Tamron is a great "walkaround" lens when I'm just out shooting various b-roll for my productions. It's nowhere near as sharp (or as fast) as a fast prime in any of its covered focal range, but more than good enough. I've shot a few productions with only that lens.

[Brian Brown]

Originally Posted by Harrison Houde

I think what I should do is get the 16-35 (It is prime, it is super wide, and good in low light)...

Harrison, it sounds like you're confused on what a prime lens is. A prime is a fixed (single) focal-length lens. I suspect you might have thought a fixed- aperture lens was a "prime", but that's not the correct terminology.

So, you either have a zoom or a prime. Zooms are almost always slower, more expensive, and not as sharp as primes in the same lens families, due to the inherent compromises to get a multi-focal-length product. BUT, it's sure nice not to have to swap out lenses on some productions.

HTH...

[Jon Braeley]

The classic lens you are missing is also the Canon 70-200 F2.8L or F.4L .... incredible lens - both of them.

I actually went with the F4 after using the 2.8 because of the weight issue - I shoot in very remote locations abroad. On the 7D this will give you top end focal length and great DOF. Every pro I know with Canon will have either of these lenses!

[Buba Kastorski]

Originally Posted by Harrison Houde

Update: I have been looking and just cant find my dream lens lol..

My choice is now between the Canon EF-S 17-55mm f/2.8 IS USM
and the Canon EF 16-35 f/2.8L II USM AutoFocus Lens.

Both have great reviews on BH Photo. One is $500 more. One will not work if I do upgrade to the 5D Mk III when it comes out. One has a little more zoom. One is a prime lens.
WHAT TO DO?!! I hate decisions..

well, my friend, you have to make one :) shooting and especially editing is all about making decisions;
16-35 is an amazing lens, BUT it's full frame so on 7D it'll be like 24-55, I own one and to my eye it is a better lens than 17-55, BUT there is no IS, and IS is very helpful for many different situations, BUT if you planning to upgrade to MKIII it will not fit it, BUT i hear the roomers about MKIII for the last three years :)
if you know you will be upgrading to FF camera, and unless you're planning to keep your 7D do not buy EF-S lenses, but if you not sure when, or if not sure if you will, 17-55 mm IS f2.8 wil cover 90% of your shooting ,
best,

[Chris Westerstrom]

Originally Posted by Harrison Houde

Update: I have been looking and just cant find my dream lens lol..

My choice is now between the Canon EF-S 17-55mm f/2.8 IS USM
and the Canon EF 16-35 f/2.8L II USM AutoFocus Lens.

Both have great reviews on BH Photo. One is $500 more. One will not work if I do upgrade to the 5D Mk III when it comes out. One has a little more zoom. One is a prime lens.
WHAT TO DO?!! I hate decisions..

I think what I should do is get the 16-35 (It is prime, it is super wide, and good in low light) then I have my Sigma 30mm 1.4 which is a good medium thats crazy good in low light, and then I will get a 50-100 or 50-150 zoom. Thoughts? I am going to look for a 17-55 prime (full-frame) or something.. and then I probably dont have to take it off to much but I will still be getting a 50-150 or 70-200 or something.

wait a second there, the 16-35 is a crazy wide lens for the 5d, although the field of view will be narrower for your cropped sensor, you will still have the same characteristics of a wide angle lens within that field of view.