One of the music producers credited with influencing the art significantly in the 20th century is Lee 'Scratch' Perry. Having started his apprenticeship with Jamaica's Studio One and Coxsone Dodd in the late 60s, he later moved to Amalgamated Records, Joe Gibbs Studio around 1970. Any student of Dub, Dance and of late Dub Step will inform you that Perry's use of the effects unit of the time, the echo chamber, and basic two and four track mixer/tape recorders were stretched to the limit to produce some of the most innovative sounds of the time. This included sampling which we take very much for granted today. His development of reggae music through remixes, dubs and overdubs was done out of necessity. And, necessity is the mother of invention.
Having access to a couple pieces of basic equipment: a mic, echo unit, a mixer and recorder; and no means of updating at a time when reggae and other recorded music tastes were developing at a rate of knots, Perry was inclined to experiment in order to keep up with the pace set by other hungry musicians and producers looking to break into the market.
I recalled the story of Perry when I consider the access to the equipment many of us have at our disposal today. Yet, we neither learn to master them nor maximise on their potential before we move on to the next and latest bit of gear.
I wonder what he would have produced with a 16 track digital desk hooked up by lightpipe or firewire to Pro Tools or Cubase on a Mac Pro with in excess of 150 virtual tracks and unlimited effects? Having access to both inboard and outboard gear and various microphone options would have created what new sound? Let's say he had an HDV camcorder or two or even a DSLR, what movies would be in the offing? Given that he was into production, then editing may have been his thing, what masterpieces would he have created with FCP 5/6/7 or Premiere? Such resources are available in many homes now.
With regard to film and video. The new range of Sony F cameras look great. So do the more affordable Canon C series. Panasonic's about to deliver another bargain buster upgrade to the AF101. The recession may have many wondering how to afford these updates. Can the serious hobbyists keep up with the small production units? Is DSLR still relevant? Should I cash in on my old tape based camcorder?
Stop!
What would Scratch do?
Well by example he has shown that the best equipment is what you have right now at your disposal. Before you make that next purchase or upgrade have you made the best possible production with the resources you already have? For a benchmark just do a web search and put in best production with camera x or camera y or lens x or y or mixer x or y. You'll be surprised at the awards, commendations and commercial success many have had with the same equipment you have within your grasp right now. Challenge yourself, be creative with what you have and you'll be the richer for it in more ways than one.
T
Monday 14 January 2013
Saturday 5 January 2013
Zoom Lens for DSLR Filming? Anathema!
Having cropped sensor Canon DSLRs in the form of the 600D and the 7D I've acquired a range of budget and pro spec lenses. I mostly have primes for shooting video/film in the form of the Tokina 35mm, Canon's 24mm f1.4 and 50mm f1.4/f1.8 variants. The Tokina 11-16 wide zoom is in there too.
In preparation for my video shoot I took the Canon 7D on test with these range of lenses. http://www.youtube.com/watch?v=ey-npUSM1Po&feature=share&list=UUFCN1av1-tVLnhT8P0Y3LbQ The settings in camera were neutral with sharpness, contrast and saturation tuned down - usual dslr settings for film. Now whilst I got some great images and clean shots something was missing. The images appeared just a little soft and in grading colours did not pop as I would have liked. And this may of-course been due to low light conditions.But I couldn't help but feel something was missing.
Having continually read during research on filming with DSLRs that its not the camera but the lens that is important, I decided to push the boat out and acquire a good (and what I call) all rounder. What I really needed in my arsenal was a mid-range zoom. Options included the 24-105mm L lens or the 24-70mm f2.8L. Either would be my first foray for an L branded lens. Had I gone on price alone, the longer range lens would seemingly offer a better deal at £580. However, at the time of purchasing Canon just released the usm II version of the 24-70. All reviews, including those from trusted sources such as Ken Rockwell (http://www.kenrockwell.com) and Michael Maven (http://michaelthemaven.com) indicated this new generation of lens was the one to get.
With the lens costing almost double the camera it was going on at £1470, best price was an important aspect of the purchasing decision too. DigitalRev provided the best "trusted source to price ratio" (TSPR). I purchased from them before via Ebay though this time I shopped direct (http://www.digitalrev.com). A security email and response within 24 hours and the lens arrived 4 days later.
To say that I am blown away with its performance is an understatement. Both for photography and filming it is the first lens in the bag. And each time I use it I get more impressed. I have been reviewing some of the music video footage we shot using it paired with the Canon 7D. In post, even under extreme magnification and zooming, the images remain sharp. In fact there is little need to add sharpening back in post despite it being reduced in camera. Colour needs little if any correction and so time spent on grading is for artistic reasons only - look and feel.
We take it out on Day 3 of the video shoot tomorrow and I am looking forward to the day, if for no other reason than to continue putting this lens through it's paces.
My prime lenses remain relevant, I continue to be impressed by the Tokina 35mm especially for portrait and close ups. However, with constant f2.8 throughout the focal range, the latest Canon 24-70mm incarnation offers a very useful option especially for travelling light.
In preparation for my video shoot I took the Canon 7D on test with these range of lenses. http://www.youtube.com/watch?v=ey-npUSM1Po&feature=share&list=UUFCN1av1-tVLnhT8P0Y3LbQ The settings in camera were neutral with sharpness, contrast and saturation tuned down - usual dslr settings for film. Now whilst I got some great images and clean shots something was missing. The images appeared just a little soft and in grading colours did not pop as I would have liked. And this may of-course been due to low light conditions.But I couldn't help but feel something was missing.
Having continually read during research on filming with DSLRs that its not the camera but the lens that is important, I decided to push the boat out and acquire a good (and what I call) all rounder. What I really needed in my arsenal was a mid-range zoom. Options included the 24-105mm L lens or the 24-70mm f2.8L. Either would be my first foray for an L branded lens. Had I gone on price alone, the longer range lens would seemingly offer a better deal at £580. However, at the time of purchasing Canon just released the usm II version of the 24-70. All reviews, including those from trusted sources such as Ken Rockwell (http://www.kenrockwell.com) and Michael Maven (http://michaelthemaven.com) indicated this new generation of lens was the one to get.
With the lens costing almost double the camera it was going on at £1470, best price was an important aspect of the purchasing decision too. DigitalRev provided the best "trusted source to price ratio" (TSPR). I purchased from them before via Ebay though this time I shopped direct (http://www.digitalrev.com). A security email and response within 24 hours and the lens arrived 4 days later.
To say that I am blown away with its performance is an understatement. Both for photography and filming it is the first lens in the bag. And each time I use it I get more impressed. I have been reviewing some of the music video footage we shot using it paired with the Canon 7D. In post, even under extreme magnification and zooming, the images remain sharp. In fact there is little need to add sharpening back in post despite it being reduced in camera. Colour needs little if any correction and so time spent on grading is for artistic reasons only - look and feel.
We take it out on Day 3 of the video shoot tomorrow and I am looking forward to the day, if for no other reason than to continue putting this lens through it's paces.
My prime lenses remain relevant, I continue to be impressed by the Tokina 35mm especially for portrait and close ups. However, with constant f2.8 throughout the focal range, the latest Canon 24-70mm incarnation offers a very useful option especially for travelling light.
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