The Move Towards Motion Part 10 – All Round Optics

CAMERAS HAVE EVOLVED to an incredible degree over the past few years to the point where most models now have excellent hybrid attributes and are perfectly capable of fulfilling a role across the board for the modern professional. However, the story doesn’t just end with the ability to capture high quality footage, of course. You need lenses to partner your all singing and dancing body and this is an area that, once again, has been moving with the times and where the amount of choice on offer has been growing exponentially.

Back in what almost seems like the pre-history days, where the Canon 5D Mark II had ripped up the rulebook and photographers everywhere were experimenting with full frame footage, the default position was to use the lenses that you would also be using to shoot stills, and this was enough to allow plenty of experimentation. Now that more and more photographers are looking to add video to their professional repertoire, however, is that approach still good enough, and what are the alternatives?

Jake Ratcliffe, one of CVP’s resident team of technical experts, understands the situation more than most, having graduated from stills photography into filmmaking and being in the happy position where he’s positively surrounded by lenses of all descriptions on a daily basis. It puts him in an ideal position to deliver an overview on what the photographer looking to make a move into the world of video might actually need to get started and, true to CVP’s philosophy, there’s a guarantee that no-one dipping a toe in the water for the first time and looking for advice will be sold something that they don’t need.