Hello...I'm soliciting comments on this proposed startup system for my daughter, a film and TV major who
will be graduating from college in May. It will be her graduation gift and I put it together after a lot
of internet research but I am no expert (nor even an accomplished novice) in the area. Any preferred
substitutions and required additions are welcome, but I would like to keep the total cost about the same
as for the items listed. She will pick her own lenses but would like some input from experienced 5D HD
videographers before deciding. Her main area of interest at the moment is documentaries. Thanks.

EOS 5D Mark II Digital Camera (body only)
Nikkor 50mm f/1.2 Manual Focus Lens
Nikkor 85mm f/1.8 Manual Focus Lens
Nikkor 135mm f/2.8 Manual Focus Lens
Canon 24-70mm f/2.8L Lens
Adapters for the Nikkor lenses
Zacuto Target Shooter
Ikan - ELE-FGK Follow Focus Cine-Kit
Genus GL GMKDSLR Matte Box DSLR Kit (No Adapter Ring)
Genus GARD-NK Universal Donut "Nun's Knickers" Adapter Ring
Zacuto - Z-Finder Pro 2.5x
Rode NTG-2 Condenser Shotgun Microphone Kit
Manfrotto - 501HDV Head w/546B 2-Stage Aluminum Tripod System
Konova K3B2 50KG Camera Camcord slider dolly track 5D2 7D D800
HDV-Z96 LED Photo/Video Light Kit
Lilliput 5dii-ho 1080p 7" TFT LED Field Monitor
Zoom - H4n Handy Mobile 4-Track Recorder
77mm Fader Vari ND Mark II Filter
Lowepro Fastpack 350 Camera Backpack

That is a wonderful gift, Steve, you've certainly done your homework...more than a lot of seasoned film makers. :) I'm sure that she would be able to produce superb films from that list of items, and certainly a perfect starter kit for well into the future.
Possibly the addition of a wireless lav set-up would be the only major extra item needed, although she'd get by with the NTG-2 and H4n for most of her work.

Pura Vida Steve!

You may want to look into the Canon 5D-MKIII as it has the ability to record proper audio and be monitored with head phones @ the same time. This would allow for in camera audio recording and nixing the Zoom-H4n.

That is a wonderful gift, Steve, you've certainly done your homework...more than a lot of seasoned film makers. :) I'm sure that she would be able to produce superb films from that list of items, and certainly a perfect starter kit for well into the future.
Possibly the addition of a wireless lav set-up would be the only major extra item needed, although she'd get by with the NTG-2 and H4n for most of her work.
Thanks, Tony. I thought about a lav mic. I'll see what my daughter thinks.

Does sound like quite the grad gift!
I will point out a few things that could be swapped...

First, as much as I like Zacuto and Genus gear, I think you could find much less expensive stuff that will perform the same function. RedRock micro is one to look at. The reason I mention this is your choice of tripod (501) is very weak in comparison. I'd try pushing money towards a Sachtler, Vinten or similar.
Second, if you're going with Nikor lenses why not go D800 for the body? (or go Canon for lenses)
Next, why not combine the monitor and zfinder into the evf? Or SmallHD dp4 evf? You can't use both the monitor and the camera LCD at the same time and the evf options both flip up to use as a monitor.
Lenses....as you mentioned, it's personal preference BUT...for me, I'd swap the 24-70 for the 70-200 f2.8 IS (v1) and pick up a Canon 16-35L v1 used or a 28 f1.8 to cover wide. To me the 70-200 is essential. You could then nix the 85 and 135 primes.
At least one Sennheiser wireless lav is a must.
Just some thoughts based on my experiences shooting DSLR.
Any way you slice it, it's a kick arse gift that will be useable for a long time. You ROCK!

Pura Vida Steve!

You may want to look into the Canon 5D-MKIII as it has the ability to record proper audio and be monitored with head phones @ the same time. This would allow for in camera audio recording and nixing the Zoom-H4n.
Thanks, Matthew. I investigated the MKIII and it looks like it's about $1400 more than I can buy the MKII for and I want to stay within budget and not scrimp on the lenses and accessories. I would consider the MKIII if there are less expensive suitable alternatives to the other items that might make up the difference. But from what I have read, she should be able to produce quality work with the MKII and once she gets her career going I assume she will upgrade as she wishes.

Does sound like quite the grad gift!
I will point out a few things that could be swapped...

First, as much as I like Zacuto and Genus gear, I think you could find much less expensive stuff that will perform the same function. RedRock micro is one to look at. The reason I mention this is your choice of tripod (501) is very weak in comparison. I'd try pushing money towards a Sachtler, Vinten or similar.
Second, if you're going with Nikor lenses why not go D800 for the body? (or go Canon for lenses)
Next, why not combine the monitor and zfinder into the evf? Or SmallHD dp4 evf? You can't use both the monitor and the camera LCD at the same time and the evf options both flip up to use as a monitor.
Lenses....as you mentioned, it's personal preference BUT...for me, I'd swap the 24-70 for the 70-200 f2.8 IS (v1) and pick up a Canon 16-35L v1 used or a 28 f1.8 to cover wide. To me the 70-200 is essential.
Just some thoughts based on my experiences shooting DSLR.
Any way you slice it, it's a kick arse gift that will be useable for a long time. You ROCK!
Thanks, Robert. I see that the SmallHD DP4+EVF bundle with all the goodies is selling for $699 which is about $100 more than the present viewfinder/monitor setup on the list. I can live with that. There is a $599 bundle without some of the add-ons (like a diopter kit, for example). Is it a much preferred way to go than a separate viewfinder and monitor?

Do you have any specific recommendations for a tripod and mattebox in a similar price range as those on the list?

And I'll talk to her about your lens suggestions.

Thanks, Robert. I see that the SmallHD DP4+EVF bundle with all the goodies is selling for $699 which is about $100 more than the present viewfinder/monitor setup on the list. I can live with that. There is a $599 bundle without some of the add-ons (like a diopter kit, for example). Is it a much preferred way to go than a separate viewfinder and monitor?

Do you have any specific recommendations for a tripod and mattebox in a similar price range as those on the list?

And I'll talk to her about your lens suggestions.

The evf is useable on any camera. I like that it is adjustable position-wise where the straight zfinder limits you to being right behind the camera.

I have a Sachtler Fsb-6 which is fantastic. It gets used for my xf300 too. I think the Fsb-4 would work too.
I've not used Vinten but people like the Vision Blue which is cheaper.
I also own a 501hdv, 503hdv, and 701. For working in HD, they are not up to the task. Except for static lockdowns.

My buddy has a complete RedRock shoulder rig with FF and matte box. It is very nice stuff. I have a mix of Zacuto and RedRock parts for my shoulder rig but no matte box. Never felt the need for the extra weight and complexity of setup when you change lenses. I prefer a faster run/gun lightweight rig to my buddy's very impressive looking cinema style rig.

The lenses (along with sound equipment) are THE most important aspects of photographic equipment, so I agree with Steve that the Mk2 will be the best choice to fit his budget.

I do prefer the 17-35mm L and 16-35mm L for my type of work, but I feel that the 24-70mm will be a wiser choice for the documentaries. But there is still some overlap with the primes in his list. So...

My choice would be:

List 1)

18mm or 20mm Ais Nikkor
24-70mm f/2.8 L zoom
70-200mm f/2.8 or f/4 L zoom (depending on budget)

List 2)

Canon 16-35mm L or 17-35mm L
50mm f/1.4 Ais Nikkor (No need for the 1.2)
85mm f/2 Nikkor or Canon 85mm f/1.8 or 135mm f/2.8 Nikkor
180mm f/2.8 Ais Nikkor or Canon 200mm f/2.8 L

List 3)

18mm f/2.8 Nikkor, or 20mm Nikkor or 21mm Yashica/Contax f/2.8 (Canon 20mm is not very good).
Canon 24-105mm L IS
Canon 70-200mm f/4 IS (or 2.8 version if within budget. Image quality is similar. The f/4 version would be lighter to carry for your daughter).

Each list would do the job! :)

As someone who has owned a 5D2 for over three years & now owns a 5D3 I would unhesitatingly say that you should drop some of the extras & buy the 5D3. It is a significantly better camera both for stills & video. She can live without the shoulder rig, matte box & all that other junk. It's a great temptation to buy a load of gear all at once for the complete setup but as one who has been down that route I recommend against it. You don't need a monitor, you don't need an EVF, you don't need a follow focus. All you need is a loupe, variable ND filter, monopod & a tripod.

Get her the 5D3 with the 24-105mm kit lens plus loupe, variable ND filter, monopod & a tripod. Give her the rest of your budget in cash to spend herself as & when items are required.

BTW Don't mix Canon & Nikon lenses as the Nikons focus the wrong way & confuse the hell out of you.

"...BTW Don't mix Canon & Nikon lenses as the Nikons focus the wrong way & confuse the hell out of you."

I would have to disagree with that statement. I use Nikkors, Pentax and Canon lenses and quickly get used to the MF rings on each during a shoot (The MF rings on the Nikon & Pentax lenses are always easier to use than MF with the Canon EF lenses, but I have no problem switching optics during a shoot).

The AF on the Canon lenses can be handy for use of the AF-On button at start of some video sequences (albeit painfully slow) when the LCD loupe is not in place.
More importantly, it allows fast AF for when she will be taking stills (I doubt if she will ONLY be using the 5D for video, because if so, then Steve would be better off buying a camcorder).

What I do agree on, is that a seperate Monitor, Follow-focus, Matte Box etc is not needed for most work, especially run-n-gun (although all of these could be bought at a later date, depending on his daughter's chosen subjects and MF focussing abilities and eye sight, etc).

Geez guys, do you really think this is the best way to go for a soon to graduate film student who wants to do documentaries and just so happens to be a girl? Matte boxes, follow focuses, shoulder rigs, on camera monitors, separate sound, lenses and on and on…..

Let her first learn to tell a story and be able to capture it fairly easily without all the headaches of using a digital camera that just happens to shoot good video. A DSLR is a good 2nd camera for documentaries and would be a great addition later on but why deal with that 12 minute limit while trying to shoot your first one? Would you?

This is a great case of “where less is more” and I can guarantee she would rather haul around an XF100 with nice mic attached, a tripod and a few odds and ends than these “I’m gonna need a crew” suggestions showing up here. Hell, half the time she won’t take the tripod, guaranteed.

Let her kit grow as her experience and vision does and she will have a greater chance of success, which is really the gift you are trying to give.

Just saying......

I agree David, as mentioned earlier, if stills shooting isn't an important criteria in her future filming, then a decent camcorder for the same budget would probably be a far better choice.

I think it is also important to know which type of cameras that she has been using so far. If it is mainly DSLRs, and she likes the form factor and functions of DSLRs for video (and I take it that she has already indicated to her father that this is what she would prefer) then the 5D would be a great choice.

I own a 5dm2 and a proper camcorder. Putting my total agreement with David Chilson aside, my two cents:

The 501 tripod is probably the most frequent tripod people upgrade from... judging from reading For Sale postings.... the Sachtler ACE is a DSLR designed tripod from a great company in tripods:
Sachtler ACE M MS Tripod System 1001 - Filmtools (http://www.filmtools.com/sachtler-ace-tripod-system-1001.html)

One 77mm vari-ND won't serve well. Each lens needs one unless the 24-70mm L is the only lens you'll use without the mattbox.

Zacuto stuff is awesome and worth every penny. You'll get much of the money back when you sell it. That isn't necessarily true of other gear.

I agree David, as mentioned earlier, if stills shooting isn't an important criteria in her future filming, then a decent camcorder for the same budget would probably be a far better choice.

I think it is also important to know which type of cameras that she has been using so far. If it is mainly DSLRs, and she likes the form factor and functions of DSLRs for video (and I take it that she has already indicated to her father that this is what she would prefer) then the 5D would be a great choice.
While in school, she co-wrote and produced several videos using a 7D and she has been a still photographer for several years. She will be coming home to Costa Rica in September with a Film & TV schoolmate whose main area of interest is sound engineering. They are planning on doing a short documentary about a famous (here in Costa Rica) animal rescue operation called (The Toucan Rescue Ranch (http://www.toucanrescueranch.com/)).

The AF on the Canon lenses can be handy for use of the AF-On button at start of some video sequences (albeit painfully slow) when the LCD loupe is not in place.
More importantly, it allows fast AF for when she will be taking stills (I doubt if she will ONLY be using the 5D for video, because if so, then Steve would be better off buying a camcorder).I use all Canon lenses for just this reason although if you set the Live View focus mode to Quick AF it is anything but slow as it just flips the mirror down & hits focus just as when taking a still & then gets the mirror out of the way again. The default Live Mode AF is much slower but can be used while recording video although the change in exposure while it is hunting for focus renders the image unusable.

A DSLR is a good 2nd camera for documentaries and would be a great addition later on but why deal with that 12 minute limit while trying to shoot your first one?My recommendation of the superior 5D3 is partly because the recording limit is now 30 minutes on that model.

As someone who has owned a 5D2 for over three years & now owns a 5D3 I would unhesitatingly say that you should drop some of the extras & buy the 5D3. It is a significantly better camera both for stills & video. She can live without the shoulder rig, matte box & all that other junk. It's a great temptation to buy a load of gear all at once for the complete setup but as one who has been down that route I recommend against it. You don't need a monitor, you don't need an EVF, you don't need a follow focus. All you need is a loupe, variable ND filter, monopod & a tripod.

Get her the 5D3 with the 24-105mm kit lens plus loupe, variable ND filter, monopod & a tripod. Give her the rest of your budget in cash to spend herself as & when items are required.

Absolutely concur with Nigel's recommendations (and David's earlier, about the kit being overly complex). When I started out with a 5DII more than 3 years ago I bought far too many accessories - adding "junk" as Nigel put it so aptly can really bog you down... I ended up selling my matte box, follow focus and shoulder rig (and even my loupe) because ultimately they were unnecessary complications.

A 5DIII with a monopod, tripod and variable ND will be much faster to work with and produce superior images to a 5DII with a clunky set-up... all the extras may sound enticing but they can get in the way of capturing great moments and won't necessarily make your daughter's images look any prettier. She can always add this stuff later if she finds anything lacking.

Whereas the 5DIII will remove the (rather large) moire problem that afflicts the 5DII, offer headphone monitoring, much longer clips, and much better low light performance.

If you do go for a set of Nikkors (which are lovely and cheap), I would supplement them with an IS lens option like the 24-105 rather than the 24-70, because the 24-70 is covering the same range without offering anything additional.

The 24-105mm F/4L USM IS is also a bargain when purchased as the kit lens with the 5D3. The complaint has always been that with a maximum F/4 aperture it isn't so good in low light but as the 5D3 is 1-2 stops better than the 5D2 that disadvantage is moot. The new version of the 24-70mm F/2.8L is colossally expensive & not shipping yet while the older version is larger weighs a ton & is actually a rather indifferent lens in my opinion.

Agreed again Nigel - I have the original 24-70 and it has never really endeared me... selling for the 24-105.

i would add that the variable ND should be 82mm with an adapter. the 77mm vignettes at the wide end on my 24-105 (i use the singh ray), and neuters that lens at about 30mm. i would imagine it does the same for any other 77mm lens at the wide end. really disappointed with that as it is really expensive! works brilliantly with my 35 2.0 and an adapter, though.
also, if you cut some of the $ off your list with less add-ons or cheaper ones (maybe look into the $50 FF on Kickstarter, can also be used for zoom), maybe you could afford a small HD camera (an XA10?) and a stabilizer like a Merlin.
the 5D and the XA10 on a Merlin would be a really versatile set up and is what i am actually looking to put together this summer.
a would also add that the smallHD DP6 monitor is a real treat to focus with!

i would add that the variable ND should be 82mm with an adapter. the 77mm vignettes at the wide end on my 24-105 (i use the singh ray), and neuters that lens at about 30mm.The LightCraft Workshop Fader ND 77mm filter is effectively an 82mm filter with a built-in step down ring to 77mm so vignetting is not a problem. Likewise with other sizes of LCW variable ND filter it is over-sized with a step down ring.

Thanks to everyone. I've tried to absorb all the comments and suggestions and came up with a modified proposal.

Matthew: You said she won't need the Zoom - H4n with a Mark III and can obtain similar quality sound using the Rode NTG-2. Is that correct?

Nigel: Where can I find the specific LightCraft Workshop Fader ND 77mm filter that you recommend?

EOS 5D Mark III Digital Camera (body only)
Canon 28mm f/1.8 Manual Focus Lens
Canon 50mm f/1.4 Manual Focus Lens
Canon 70-200mm f/2.8L IS Lens
Zacuto Target Shooter
SmallHD DP4-EVF
Rode NTG-2 Condenser Shotgun Microphone Kit
Sachtler ACE M MS Tripod System 1001
HDV-Z96 LED Photo/Video Light Kit
Light Craft Workshop Fader Vari ND 77mm
Lowepro Fastpack 350 Camera Backpack

What other accessories are required to make all of this work together?

This configuration has about the same total cost as the original system.

Just make sure that you get a genuine LCW Fader ND mk II. There are plenty of cheap (& not so cheap knock-offs). I have purchased direct from LCW in Hong Kong & had them delivered within the week. These guys are in LA & look to be legit 77mm Fader ND Mark 2 by Light Craft Workshop | eBay (http://www.ebay.com/itm/77mm-Fader-ND-Mark-2-by-Light-Craft-Workshop-/180841338878?pt=Camera_Filters&hash=item2a1afbd7fe#ht_500wt_1413) Alternatively perhaps someone can chime in with a reliable US based seller?

Well done Steve... that looks like a much better proposition to me. I like your lens choices!

A few (relatively cheap) essential components are:

1) a step up ring to go from the lenses to the fader (from memory both the 28 and 50mm lenses have 58mm front ends, so you would need a 58-77mm step up ring - if you buy the 70-200 this has a 77mm front thread so you can mount the fader directly if you purchase a 77mm fader).

2) an xlr to mini jack to get sound from the Rode to the camera (I would get a very short one for camera mounting, and a much longer option to get the mic near to interviewees). A light/portable mic stand would also be very useful for interview situations.

3) a 77mm screw in lens hood to go on the end of the fader (could go for two, a wider/shorter version for the primes and a narrower/longer hood for the telephoto).

The list you outline would make an excellent package covering all bases. Personally, if I had to drop any one item for budgetary reasons, it would be the Zacuto... but that's just me! All the best.

I don't mean to be a shill for Zacuto but I have their Z-Finder and it's awesome. I also like that they are up front that their stuff is designed and wherever possible, made in the free world.

I don't think the SmallDP EVF lets you have a loupe configuration as the Zacuto does. The Zacuto EVF gives you the option of a more minimal rig using the Z-finder as a loupe. This is key for stealthier shooting for documentaries. There's the Z-finder EVF Pro that you have to add a gorilla plate and 5D frame to get the loupe configuration or just get the EVF Snap and a Z-Finder Pro to get everything. I recommend the extra 5D frame made specifically for that camera.
Z-Finder EVF (Electronic Viewfinder) (http://www.zacuto.com/zfinderevf)

Note that some models of the Z-Finder have a diopter and some don't. The Z-Finder Pro is the gold standard for DSLR filmmakers. I highly recommend the diopter for nothing else than accommodating the eyesight of various people on the crew that at one time or another will need to see.

Steve,

Great setup, for a wedding person. I own all those lenses and as soon as my dealer calls I will get the 5D3, (but I'm also getting the 24-105 kit lens, it's a great deal in the kit.)

But for less money you could get an XF300, which by the way the BBC uses in their documentaries so it should be pretty good for a graduating film student. It has proper audio, nd filters and viewfinder in a compact handy package. Have you ever held a 5D 70-200 lens and all those whiz bang ad ons? It's a pain in the arse.

OK, I'm done now and I'll leave this alone.

PS, remember there is a great area of the forum that you can sell things.

Well done Steve... that looks like a much better proposition to me. I like your lens choices!

A few (relatively cheap) essential components are:

1) a step up ring to go from the lenses to the fader (from memory both the 28 and 50mm lenses have 58mm front ends, so you would need a 58-77mm step up ring - if you buy the 70-200 this has a 77mm front thread so you can mount the fader directly if you purchase a 77mm fader).

2) an xlr to mini jack to get sound from the Rode to the camera (I would get a very short one for camera mounting, and a much longer option to get the mic near to interviewees). A light/portable mic stand would also be very useful for interview situations.

3) a 77mm screw in lens hood to go on the end of the fader (could go for two, a wider/shorter version for the primes and a narrower/longer hood for the telephoto).

The list you outline would make an excellent package covering all bases. Personally, if I had to drop any one item for budgetary reasons, it would be the Zacuto... but that's just me! All the best.
Thanks, Josh.

The Willoughby's RØDE NTG2 Condenser Shotgun Microphone Kit Includes:

1. Rode NTG2 Multi-Powered Condenser Shotgun Microphone.
2. Rode High-Performance WS6 Deluxe Wind Shield.
3. Rode VXLR Minijack to XLR Adaptor.
4. Rode VC1 Minijack/3.5mm Stereo Extension Cable (3m/10').
5. Rode ZP1 Microphone Padded Zip Pouch.
6. Rode RM5 Durable Microphone Clip.
7. Rode WSVM Pop Filter/Wind Screen.
8. Rode Microphones' industry leading 10 year warranty.
9. Willoughby's Exclusive Micro Fiber Cleaning Cloth.

If your daughter is going to ply her trade in CR I would suggest getting some sort of rain gear for her kit. I had a bad experience shooting some surfin down in Dominical. Got caught in an afternoon storm.

Matthew: You said she won't need the Zoom - H4n with a Mark III and can obtain similar quality sound using the Rode NTG-2. Is that correct?
.

I have very big doubts that the Mark III with a Rode NTG-2 plugged into the mini jack socket would match the sound obtained from any separative sound recordings, such as via the the H4 or H4n. The Rode will be OK for some on-camera recordings, but for top quality sound there is no doubt that Dual Audio will be needed.
Until the DSLR's have XLR ports and an array of other basic needs for high quality stereo sound recordings, then dual audio sound recording is an important part of video...especially given the subject matter that Steve's daughter has chosen.
My advice is to definitely not leave out the Zoom H4 from your your list.

If your daughter is going to ply her trade in CR I would suggest getting some sort of rain gear for her kit. I had a bad experience shooting some surfin down in Dominical. Got caught in an afternoon storm.
She'll be in CR late summer/early fall (yes, the middle of the rainy season) to work on that wildlife rescue ranch project, then I think she's off to Australia where she's trying to get an internship lined up.

Your advice is well taken. Dessicant packets and ZipLoc bags for a starter. I've seen some rain covers from Kata. Do you have specific suggestions?

don't forget memory cards! not sure they were on the list.
for audio, the zoom is great and you can record with the onboard mics and two external mics, with different levels to ensure 'safe' levels.
the new Rode mic that doubles as a recorder looks like an interesting solution also, but not sure it is available yet...

Regarding sound recording, I see three options...

1) For run 'n gun with a camera mounted mic - Rode Video Mic Pro.

2) For solo shooting using pro, XLR mics - a juicedLink preamp and Magic Lantern firmware. This provides very good quality dialog recording with slightly less noise than the H4n. With a separate recorder, there is the possibility to get the camera and recorder out of sync. (Recording video but not audio and vice versa.) With a preamp, you're less likely to have operator error.

3) For shooting with a team - an external recorder. It allows the sound person to work independently of the camera. Which recorder? Depends on budget and other factors.

For narrative work, I'd cross #1 off the list. Usually, you'll be shooting with a team, so #3 is best. But some often shoot solo. You can put a mic on a stand or use lavs as a solo shooter. If this is the case, then #2 is a good way to go.

As always the best answer depends on the question being asked. :)

Almost all of my filming is solo without help from a seperate sound team, so I've had to work out ways to record high quality clean sound without the aid of shotgun mics on boom poles etc.

For "run 'n gun" type filming with a 5D, I prefer to use a Zoom H4 fitted to my special Cinecam brace and record directly from the inbuilt H4 stero mics. This enables me to work hands-free, and have the H4 pointing directly at the action while at the same time keeping the mic at a decent distance from the camera & lens noise.
I also use a similar set up when I'm filming a roving interview, where I'm always in close proximity to the person talking.

If it is a 'roving-type' interview where I'm chatting to the person but filming us both at the same time (this takes practice!) - I fit the 5D to a monopod and fit the Zoom H4 inside a special removable pocket attached the the monopod. The monopod in this case is not placed on the floor/ground but held at arms length so that I can swivel the camera around to also film myself as well the person I am talking to.

Occasionally I will fit a Sony clip mic to myself (directly wired to the XLR port of the Zoom H4) and another wireless clip mic the person I am filming so that we can also continue to record clean and strong sound at further distances from each other. In this case I will use a tripod if the camera is static, or the Cinecam brace if I need to walk around with the camera.

For instances where I am filming two people outdoors at varying distances from the camera, I use two Sony radio receivers (WRR 805 & 810) connected to the Zoom H4 via XLR sockets, and two seperate Sony wireless clip mics (2 X Sony WRT 805 with 2 X Sony ECM 77b or ECM 44b) to each of the 'actors'. This enables them to be at varying distances of up to a maximum of 300 metres from my camera (150 metres is safest to prevent any 'pops' or sound drops).

When I am not using the Cinecam brace to support the camera & Zoom + wireless receivers, or when I'm filming solo at night, I will fit a Canon VL-10Li video light into the hotshoe of the Canon 5D, and clip a Zoom H4 onto the top (My H4 & VL-10Li are fitted with dual tracks of double-sided industrial heavy-duty velcro strips).

I think the 2nd kit looks much more suitable.

One thing nobody has picked up on yet though is the backpack - it wouldn't hold half of that stuff listed. It would be lucky to hold the camera and 3 lenses, and I can tell you from experience that the top pouch on that bag will barely hold her purse and a water bottle.

A good backpack is essential - something like the Lowepro Runner 350 would hold the camera and lenses plus the monitor and mic, and has straps on the outside to attach a tripod while its on your back. Plus she'll have plenty of room left over for spare batteries, the charger, a drink bottle, CF cards, a lens blower, a spare tripod plate and all the other assorted bits of junk that I dare not leave home for a shoot without.

I'd also throw in one of the cheap $30 loupes from ebay, for those times when she doesn't have the time, space, or care to setup the SmallHD. The little loupes are great because they add a solid third point of contact, which allows you to ditch the shouldermount and go really lightweight for those times you just want to grab the camera and run or when going minimalist is necessary.

And just to add to my previouse post, you can never have too many batteries and CF cards (or SDHC cards, if you got for the MKIII)

I have a number of bags, especially if I have a vehicle nearby. The main two are a LowPro Nature Trekker AW and one of my big Kata bags. If I can only carry one bag I generally take the KT BP-502:

Kata BackPack BP-502 on Vimeo

BP-502;Backpack KT BP-502 - GDC | Kata Bags (http://www.katabags.co.uk/bp-502-backpack)

The KT BP-502 can carry an amazing amount of equipment. But this when full is very heavy so would be too much to carry for most females, so the smaller LowePro would be better, or even to fit equipment in a number of smaller bags and only take what is needed for each filming job. But as always, often the gear that is left behind is what you'd wished you had packed! :)

these may be useful:

Vello Dual Shoe V Bracket (12.5 cm Wide) CB-450 B&H Photo Video

Amazon.com: Lexar Media FIREWIRE COMPACTFLASH READER ( RW019-001 ) (Retail Package): Electronics

I know I said I wasn’t going to say any more but somebody has to think about the birds!!

The most important thing that you must consider is what John said “It depends what you want to do” You did say birds didn’t you? When I think birds I want all the magnification I can beg borrow or steal and still make it look good. Going off on this excursion with 200mm max on a full frame camera with a subject matter of birds? I don’t think so….Everybody that thinks this 5d set-up that is being bantered about is the best tool for THIS job raise your hand.

Oh yes, rainy season in the tropics. I can’t imagine the Glad-bag set-up necessary for a rain cover on the 5Diii/200mm 2.8 lens/monitor/audio and all the wires necessary to make that work. The term “handy” doesn’t spring to mind.

But could somebody PLEASE post a photo anyway of a similar rig with rain cover attached where you can view the monitor and operate the controls? Can I get an AMEN to putting that idea to bed brother?! The two times I had my “Cinema Rig” out in the rain an assistant held the rain cover, it was large, looked kind of like an umbrella and said Titleist on it.

Part of the problem is you pretty much already decided the 5d was the way you wanted to go for whatever reason and now what’s happening is everyone is trying to help shoehorn that into a kit for your daughter.

Now I must confess I am the biggest equipment junkie going and for some reason if it has Canon on it I have some deep seated NEED to own it. I have owned every type Canon video camera produced in the last 20+ years except the C300 (and it’s early yet) and I have two ex wives who will sign an affidavit supporting that fact. And since I first started out as a photographer, my addiction to lenses and bodies is worse than video cameras. Yes I need help but so do others on here.

So I guess I want you to think like this: You’re at the Canon store and you can pick whatever you want, price be damned. Almost every day you will be filming something, you’re not exactly sure what, but you need to be ready. Now you need to carry this daily, through the woods, on a boat, up a tree, in and out of your car, rain, snow, sleet or hail.

The first day out you jam that bag so full of stuff, you get another bag. Hell, we have access to the Canon store, put it all in there! But after a very short while you realize you have way too much stuff and figure you can get it down to a single bag, Well yes, this new bag does have WHEELS but doesn’t really weigh more than 60 pounds.

More time goes by and you start weeding-out what you don’t need because you really think you should be able to fit everything in a shoulder bag. The “most with the least” so to speak, something you could actually carry. More weeding-out goes on, items are exchanged for others. Finally, it’s gotten down to one bag and you can do every thing that you need to do!

For someone who is looking for a camera and accessories, the best thing that others can do to help is tell you what they carry in their shoulder sized bags. But for us to really answer that question we need to know what you are going to do with your “bag”. Some on here have multiple bags and they aren’t quite sure which bag’s contents to give.

For my style of documentary work which includes photos and video, I need a good range of wide to telephoto. Interviews with multiple cameras, the occasional night time city scene, pretty much a do-all kit. It also fits easily in a bag you can actually carry and stow in the overhead compartment with no cramming. It also comes in under your budget.

XF100 – $2995 Great little camera, codec and wide standard lens. A little short on the magnification (10X) but has a 1.5x digital zoom that is very usable. Works very well as a night time “city life” camera, just do a search. Add an inexpensive IR light and it can create some really funky footage. Just be careful you don’t trip. Great for the vampire crowd, it just creeps me out. The whole camera set up with mic and battery weighs less than the 70mm-200mm 2.8 lens alone. Need a rain cover where you can work the controls? The Petrol PR405 works very well. I also use the .8X wide angle Canon adapter that’s a real nice accessory.

This camera is 10 seconds from bag to “rolling” which can be very advantageous if documentaries are your thing. It usually takes me that long to find the right hole to plug the monitor in on my “cinema rig”.

T3i $625 (60D also) All the stills camera 90% of people will ever need and photos from it are good enough for anywhere. Articulating screen is great for video. This is the best Canon camera if you need some reach for video. With the 3X crop and the two lenses I carry, it’s great. Haven’t met a person in the business who could consistently say what Canon camera a video was shot on. And to the average person watching they haven’t a clue.

15-85 Canon EF-S Lens-Bought on a whim a couple years ago after it was announced (I told you I had a problem) and not sure if it’s an extra sharp copy or what but it’s much better than its price. At around $750 it has the heft of an “L” series lens, 72mm filter and a 24mm-136mm equivalent zoom range. It also turns into a very nice 400mm lens with the 3X crop factor. Great for your second camera in interviews and can assume main duties in a pinch. It’s saved me more than once. (That’s 24mm-408mm for those that are counting)

70mm-300mm L series 4-5.6 $1500. Really like this lens and its small size. The thing to remember with the 3X crop factor is there is no loss of light. Need a 300mm f4 lens? This will do it. At 70mm on the T3i/60D with its 1.6 sensor it’s really 112mm. Add the 3X crop factor and its 336mm f4. After comparing it to my 300mm F4 L series lens shooting video I immediately put the 300mm on Ebay. Good riddance! I’m sure part of the reason not to include the crop factor on the 5d is to protect lens sales. (And if that ever changes, so will this bag!)

You want birds you say? How about 1440mm at 5.6? (300 X 1.6 X 3 = 1440) With the range of ISO on this camera you can still make the outside a little brighter than what your eyes see in that critical first and last light when so many things wild are most active, or when it’s raining.

There’s also a Rode SVM, Sennheiser 416, wireless set-up, headphones, batteries etc in the bag. It all fits in a Lowe Pro Slingshot 300 that anyone (even a girl) can carry and is accepted on any plane. The bags dimensions are 16” long, 12” wide and 8” high. I have attached a couple of photos showing the bag full and what's in it. Anybody want to try to come up with a set-up that can do more in less space? I would love to see it.

Welcome to the forum and what you are doing for your daughter is great. This site has some of the greatest people and probably the most experience with different types of video gear than anywhere in the world. Sometimes we get a little overboard with new stuff ( LOTS of people have my same sickness) but the important thing and one of the most valuable is the experience they have garnered on gear you THINK you want to buy.

Now my do-as-much as possible bag is different than my wedding bag and yes I still have customers who require the Cinema rig bag on looks alone. And yes the XF300 will come out on different occasions but for a film student just starting out with documentaries traveling around the world, maybe the 5D isn't the best choice.

Doesn't anybody care about the birds? I love this place......

Thanks David...A couple of clarifications. The rescue ranch project is not a back country wildlife shoot. These are captive wild animals that have been abused or injured and are in a facility designed to nurse them back to health and restore them to the wild if at all possible. I doubt if there will be a need for any long range shooting in the rain. Also, my daughter has a strong political focus and is most interested in projects with a social message. I suppose most of her work will be in relatively controlled situations. And, she has been a still photographer for quite a while. I could be wrong, but the 5D seems like a good compromise for someone just starting out on her own.

Is the Lowepro Slingshot 302 AW a better choice than the Lowepro Pro Runner 350 AW?

Steve,

I've shot at rescue ranch type facilities before and if they are really trying to reintroduce the animal, they want as little human contact as possible. With more telephoto you can shoot from a position that is with the animals and caretakers best interests in mind. But if you can't get footage of the thing you want to save what's the point?

I didn't mean to stress the telephoto aspect, I just thought it needed a little explanation. Wide for me is more important but sometimes there's a real need to get closer.

And it seems that maybe you and your daughter already agreed on the 5D iii camera, I hope she enjoys it as much as I will mine.

As far as the bag is concerned I think you should get which ever is bigger. At least an extra hole or two after what you finally decide. Good luck!

Steve, regarding the backpack, I use the Fastpack 250. I'd recommend either this or the Pro Runner 350, depending on the lenses she plans to use. The 250 works for six-inch lenses like the 100L, but not for the longer, telephoto zooms. The 250 has an open area up top that can hold odds and ends while the 350 is 100% dedicated to still camera gear. Also, the 250 allows side access to the camera. I can carry the camera, four lenses, accessories, follow focus, and a shoulder rig, and fit it (barely) under an airline seat. The 350 is slightly bigger and might not fit in planes that have bulges for entertainment systems.

To me, the most important aspects are lenses, sound, and stability. Regarding stability, I recently picked up the Silk Pro Pod 600 aluminum monopod, which is short enough to fit in my carry-on luggage. It's solid (many carbon fiber monopods have wiggly joints), and weighed about the same as the one solid $300 carbon monopod I sampled. Yes, a tripod is more stable, but would require a good case and would force me to check my luggage on every flight.

I also use Redrock's The Event rig. I can rest the monopod on my belt (or the ground) to take the weight off my back. On the ground, the camera can pan, but tilting is limited. In the belt, you have more freedom of movement. To walk, you need to remove the monopod from the belt and use your arms as shock absorbers. The inertia of the monopod adds a bit of stability.

If your daughter is not tall (I'm 6'2"), she might need a belt with a "holster" to rest the monopod in.

When on the monopod, I use the left handle of the rig and rest my right wrist on the right handle while controlling the follow focus. The Hoodman x3 Loupe provides another point of contact. (It's good, but the Z-Finder is nicer.) When using the monopod, I don't really need the shoulder/chest attachement of The Event, but I still recommend it. You can adjust the handles and shoulder bar into a fixed "tripod" for locked down shots. You just have to be creative to find a table or car to set it on. Of course, it's great for on-the-ground shots. :)

For a political feel, I like the idea of shooting handheld. It's visceral and present. Shooting from a tripod can feel dull. A Steadicam, slider, or jib can be too slick.

Regarding lenses, I really like the 100L handheld. It's not so big, heavy, expensive, and flashy as the 70-200 zoom, and it's faster than the 24-105 zoom. Also, it allows macro shots, which might be handy when showing people working with their hands. For the 70-200, I'd want a tripod. The 24-105 is usable handheld. (I've used it without monopod assist.)

With the 5D2, I'd stick with f/2.8 and faster lenses. With the 5D3 (and it's extended ISO capabilities), the 24-105/4L would be excellent. Add a fast 50mm and you're set.

Best of luck with your purchases!

Thanks, Jon. A lot to think about. I haven't seen many other recommendations for the 24-105mm f/1.4L. Do others think it would be a good choice for the 5D Mark III and suitable for low light video?

The 24-105 is a great all round lens for the 5DIII due to its useful focal range and image stabilisation (which is extremely useful with a monopod or hand-held). Personally I prefer it to the 24-70 that I currently own. For most situations it's the perfect match for a full-frame camera.

However, with a maximum aperture of f4 It's a poor choice, relatively speaking, for low-light shooting. Indoors with reasonable lighting is fine, you can boost the ISO of the Mark III to compensate. But for real low-light situations (dimly lit streets, candlelight, lanterns etc), you'll want something faster. That's why Jon suggested adding a fast (ie: f1.4 or 1.8) 50mm lens, because it will cover those very low light situations.

Thanks, Josh. What do you think of a combination of the kit lens, a Canon EF 50mm f/1.4 and a Rokinon 85mm f /1.4 to cover most normal and low light situations? I've seen some great reviews of the Rokinon.

The 24-105 on the 5D3 would really be ideal for documentary style filmmaking. It doesn't have super-shallow DOF, but that's hard to manage on the fly anyway. It has IS, which is great for handheld use, especially at 105mm. The range is ideal, going from 24mm (which I see as the maximum width for a natural, non-effects look) to 105, which is a nice medium tele. The downside on the 5D2 is the f/4 maximum aperture. I find that under artificial lighting, f/2 is often where you need to be; however, the 5D3 gives you two more stops of light performance. That moves you from f/2 to f/8, making the f/4 of the 24-105 very practical, indeed.

You mention the Rokinon 85. Note that it's a manual focus only lens. The Sigma 85/1.4 is more expensive, but has AF, which might be important for photos.

I recommended the 24-105mm F/4L way back in reply #10. It's a lovely lens & a real bargain when bought as the kit lens with the camera. The extra low light capability of the 5D3 negates the F/4 aperture to a great degree. We shot two weddings last weekend using the 5D3 with 24-105mm F/4L where for such low light interiors we would never dream of using it on a 5D2.

I find that under artificial lighting, f/2 is often where you need to be; however, the 5D3 gives you two more stops of light performance. That moves you from f/2 to f/8, making the f/4 of the 24-105 very practical, indeed.


Sorry to be picky, but 2 stops down from f/2 puts you at f/4, not f/8. With shutter speed and ISO, doubling/halving the number will equate to a one stop difference. With aperture however, you need to multiply or divide by 1.4 to adjust by one stop. Looking at simple maths (f/1 x 1.4 x 1.4 = f/1.96 (ie f/2) we can see that doubling the f-number (eg f/2 to f/4, f/4 to f/8, etc) is equivelant to 2 stops difference.

So if the 5dmkII requires f/2 in lowlight, then the 5dmkIII's 2-stop advantage means you require f/4. The big kicker with this is that anybody who is used to the 24-70 on the 5dmkII, can now switch to the 24-105 IS on the 5dmkIII, still have a one stop advantage, plus gain IS and an extra 35mm on the long end - so I think this lens will become a whole lot more popular than it has been.

Major DUH! You are 100% correct, sir! I stand red-faced and corrected. :)

So... the two stop difference isn't as awesome as I had mistakenly claimed, but it still makes the 24-105/4L quite viable. It also means that in low light, we can shoot the easier to focus f/4 setting, rather than at the challenging f/2 setting.

Thanks for keeping me honest, John!

No worries, I'm sure you'd pull me into line whenever necessary too!

I do agree with you though that the 24-105 now looks a whole lot more appealing. given the mkIII's better sensitivity and ISO performance. And seeing as it's available at a nice discount as the kit lens, it would be a great first choice for a film school graduate!