Chapter 4 n Choosing a Camera |
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DSLRs
The hottest topic when it comes to cameras these days is shooting HD video with DSLRs.
If you’re new to the dialogue, here are the basics: DSLRs, or digital single lens reflex cameras, are digital still photography cameras and some of them are equipped to shoot full-sized HD video (see Figure 4.24). Not every digital still camera is a DSLR and not every DSLR can shoot full-sized HD video, but the handful that are capable of it produce amazingly highquality images that rival those of high-end digital video cameras.
In fact, one could say that they offer the best image quality among all HD cameras, except for digital cinema cameras. And that’s a big deal because top of the line DSLRs cost around $2,500 and some of them cost as low as $700–800 for the camera body. So when you’re talking about a $700 camera whose next competitor, image-wise, is a $20,000 digital cinema camera, suddenly it’s clear what all the fuss is about.
Because they are designed to be still photography cameras first and video cameras second, there are some trade-offs. DSLRs have two features that give them the capability to record better images than most other video cameras: large image sensors and the ability to use interchangeable lenses. But there are two other features that DSLRs are clearly not as good at handling as the average handheld camcorder: movement and sound.
First, on almost all DSLRs, you’ll have no auto focus when shooting video. At the time of this writing, a few models get around this problem, but all other DSLRs were limited by the nature of DSLR viewfinders and design. So you’ll be using all manual focus, all the time. This can require a camera assistant, and because you can only use the LCD screen when shooting video, you might need an extra monitor or LCD shade if you’re shooting in bright light.
Figure 4.24
A DSLR camera fully outfitted with a Zeiss cinema lens, matte box, follow focus mechanism and baseplate with rods.
88 The Digital Filmmaking Handbook, 4E
Second, the body style of DSLRs is not designed for movement, and many of the working parts are difficult or awkward to use while shooting. Some still photography lenses have manual focus rings that are very small because the assumption is that you’ll either use auto focus, or that it won’t be difficult for you to look at the lens to find the focus ring. The placement of buttons and controls on the camera body isn’t always that ergonomic either.
To get around these issues, there are all sorts of accessories out there, from follow-focus mechanisms to add-on viewfinders to specialized camera rigs. (More about special DSLR gear in Chapter 10.) Lastly, the CMOS sensors in DSLRs are particularly prone to the rolling shutter problems we described earlier. Although there are postproduction solutions (see Chapter 17), sudden camera movement and very fast subject matter is going to be something to avoid.
In addition, DSLRs were not designed with much attention to audio recording so although they do record audio, they often do not record audio well. Most people who shoot with DSLRs opt to record their audio separately, using handheld audio recorders and other devices. Others use special audio accessories attached to the camera to allow for better audio recording.
And that’s not all, since part of the reason for a DSLR’s high image quality is due to the ability to accept interchangeable lenses, it doesn’t make much sense to decide to shoot with a DSLR and then not equip it with great lenses. Lenses can be a big investment. and if you decided to go with digital cinema lenses, you’ll be looking at an investment of $20,000 or more for a full set. In addition to that, you’ll also need additional hardware for your small camera to be able to hold such big lenses.
Is it worth it? It depends on your project. For a run-and-gun shoot, probably not. For a documentary with carefully-composed, locked-down shots, it could be great. Since the basic camera body isn’t expensive, you have the option of starting small and upgrading. And, of course, there is always the option of renting cameras, lenses, and accessories as needed.
Camera manufacturers have started to take the inner workings of DSLRs and put them in camcorder bodies like the Panasonic AG-AF100 (refer to Figure 4.8). These cameras start in the $5,000–6,000 range and remove the need for the crazy accessorizing. Look for more cameras like this in the near future.
Use Your Director of Photography
If you have already chosen a director of photography (DP), talk to him (or her) about your camera needs. Your DP may have ideas about how to shoot your project that will not only make for better-looking video, but also help enhance the emotional impact of your scenes. Depending on what sort of effects you want to achieve, some cameras might be better than others. If you’ll be shooting your feature yourself, then consider the same questions you would ask a DP:
nIs there a particular “look” that you are striving for? Grungy old film? Supersaturated and glossy? Muted and subtle?
nAre you planning on certain camera movements? If so, you’ll need to make sure that the camera you choose can support the accessories needed to get these shots.
nDo you have special postproduction needs? If you know, for example, that you will be shooting blue-screen footage, then you’ll want the best image quality you can afford.
nDoes your shoot require more than one camera? If so, you may need to consider going with cheaper cameras.
nAre you going to rent a high-end, professional camera? If so, you may need to hire a professional operator. Consider this in your budget.