Basic Support Gear for Your DSLR Camera and Beyond
This is by no means a complete list or one that is even required to shoot a project with any HD camera, let alone a DSLR camera. It’s just a bunch of stuff I find I use on productions that works really well. I didn’t write this to scare anybody off. In fact, if you’re interested in getting into production it is arguably one of the most exciting times to be in this field. We are at a point where we have the opportunity, with talent, to produce amazing stuff a relatively low cost of entry.
Build your kit over time and you will eventually be able to produce most of your content with what you have. There will always be larger jobs where you’ll need to rent more stuff, but that’s a problem we all like to have. I love the fact that I can now go out and comfortably shoot 85-90% of the jobs I do without having to rent additional equipment.
If you’re getting into production, the important thing to remember is there’s always more than one way to get the same product. Your project and vision will ultimately drive what you use to acquire content. That’s what’s fun about all of this. In the end, it’s all about the story. —J.S.
CAMERA
Type of Camera – This is not only an important decision, but one that will be dictated by the type of work you do.
Batteries – Have at least two high-capacity camera batteries on a shoot.
Extra Battery Charger – This can usually be used to power the camera or charge a battery. Having two chargers allows you flexibility at a shoot.
Camera Case – Get the right one for your camera setup. You may need two: one for local stuff and another hard case for traveling.
Tapes or Cards – If using tapeless media like P2, SxS, CF or SD cards, make sure you have enough to shoot for a couple of hours without ingesting your footage. If you’re using tapes, bring plenty.
Clear or UV Filter – This is mainly to protect your camera’s lenses. It's optional, but it should be seriously considered.
AUDIO
Shotgun Mic – This will be used on camera and on a boom pole. Very directional and great for capturing dialog. On camera mics are usually pretty worthless for anything but ambient noise. Use a shotgun whenever you can. For situations where I don’t need a boom pole operator to move with talent, I have a stand and tripod system that holds the shotgun mic for interviews and talking heads.
Lavalier Mic – Wireless or wired, depending on your needs. If I’m doing interviews, I try to record audio from two sources: the shotgun mic and a lavalier.
XLR Cables – Have at least 1.5 foot, 6 foot, 25 foot and 50 foot lengths with you. Make sure they’re road-worthy.
Headphones – ALWAYS monitor your sound. The Sony MDR-7506 headphones are the industry standard.
Outdoor Windscreens for Mics – The little foam ones that comes with shotgun & lavalier mics won’t cut it in windy situations. The Rycote Softie is a good choice for shotgun mics. They also make windscreens for lavalier mics.
Mixer – If you can run your mics through a mixer before they go to your camera or recorder, you will have more control of your mix. The Sound Devices 302 is a great field mixer.
Boom Pole – For when you’re using a shotgun for interviews, dialog, etc., and you need to follow the talent.
LIGHTING
Basic Three Light Kit – A staple for interviews and small shoots.
Soft Keylight – There are both tungsten and fluorescent solutions for this beauty light. Throws a nice soft light that is great for interviews.
On-Camera Light – There are some great LED-based lights that are available for on-camera use (some that even use AA or rechargeable batteries). For run and gun situations, one of these is a must.
Stands – You’ll always use more than you think. Get enough for your lights and a few more for things like flags and reflectors.
Light Discs/Reflectors – Get some. If you have a key light, you can often use a reflector to create your fill light). You will use them all the time for both interior and exterior shoots. Make sure you have lots of clamps with you to attach them to stuff. I use the MultiDiscs from Photoflex and have them in various sizes. They’re awesome.
Foam Board – Art supply stores have these in many colors. Get some black-and-white ones and use them for bounce, flags, etc. They are great, inexpensive lighting control tools. An alternative is camo netting hung from a separate stand in front of a hard light source.
Specialty Lighting – This can include fluorescent lighting for green- and bluescreen shoots, new LED lighting solutions, etc. I personally like to use cool lighting solutions (fluorescent & LEDs), whenever I can. It draws less power and is much more comfortable for talent. I’m also a big fan of Paper Laterns/China Balls and there are some great solutions out there that are not paper-based which are also great.
Lighting Gels – This can include everything from the basics, such as color temperature blue (CTB) and color temperature orange (CTO), which allow you to change the overall color temperature of your lights, to minus green (to eliminate green in certain fluorescent and LED fixtures), to neutral density gels, so you can shoot an interview by a window, to theatrical gels that let you to create certain looks.
TRIPOD
Tripod System (fluid head and tripod) – Don’t skimp on this one. It will be one of the most important parts of your kit. Make sure to test different systems to find the one you like, but expect to pay at least $1,000-1,500 to get something that will last for years (through many cameras). A good tripod will let you get shots that you caconsistently that you can use from start to finish.
Tripod Dolly – Great for when you have a camera set up that you want to move around in an interior space quickly and easily. I use mine with my camera kitted out with a 35mm lens adapter, follow focus and a matte box. It lets me get to shots quickly and it’s great for moving shots when you have an even, level floor.
WORKFLOW
Laptop – For on set when dealing with capturing/transferring footage.
Drives – Have at least one master and one for a backup.
ESSENTIALS
Extension cords, flashlight, clamps, gaffers tape, clothespins (C47s), black foil/blackwrap, basic powder/makeup kit, oil absorbing sheets, lens cleaning kit, apple boxes, small ladder, sound blankets, sand bags, various cables & adapters, extra bulbs for lights, AA & AAA batteries and grippage to attach things to stands, from drop ceilings, etc.
THE EXTRAS
Shoulder Mount System – Great for small-format cameras that don’t have an ENG-style form factor. There are loads of them out there. Do some research and find the one that best suits your setup and shooting style.
35mm Lens Adapter – I use mine now anytime the shoot lends itself to that kind of set-up. Not right for run and gun situations, but with good glass on the adapter, your videos will be taken to the next level. I’m currently using the new Red Rock Micro M2 Encore with a bunch of used Nikon mounted primes and zoom lenses. Other brands include Letus, Cinevate, Jag35, Cinemak and Shoot35 (SGPro).
Monitor – It’s nearly impossible to use a DSLR camera or a 35mm lens adapter with film lenses without a decent external monitor. There are a number of solutions in the $1,000 range (usually about 7 inches in size), that will give you good assist features and allow you to pull focus accurately on a shoot. Monitors are also an important part of your kit if you’re using a camera with a low-resolution LCD or viewfinder. If you can have a 17-inch or larger monitor on set as well, it will help tremendously. An ideal setup is a small-format, camera-mounted monitor for the camera operator and a larger monitor for the director, producer and clients to see.
Follow Focus System – If you’re using a 35mm lens adapter (or one of the small DSLR crossovers like the Canon EOS 5D Mark II), you will need this. Companies like Red Rock Micro & Cinevate offer cost effective solutions that will allow you to accurately and consistently pull focus when shooting.
Matte Box & Filters – This will help control unwanted light from entering your camera (and make you look cool). Matte box systems can be used with both stock cameras and with kits that include a 35mm lens adapter. Matte box systems also give you the ability to use multiple filters to control the light and create special looks during acquisition. These include such things as neutral density (to control the amount of light), polarizers and graduated filters. DSLRs have no ND. Get a set or buy a variable ND filter with step up/down rings. Singh-Ray makes the Vari-ND which will let dial through 2-8 stops of ND. Not good for wide primes, but great for everything else.
Dolly System – Movement beyond pans can elevate production value. There are cost-effective dolly systems out there that will give additional life to your shots and will come across as much more cinematic. I love the CamTram system.
Jib/Crane – Same as above. A great crane shot can really up the production value of a project. Again, there are cost effective solutions out there. Kessler Cranes and EZ FX come to mind.
Camera Stabilizer Systems – For those money shots where you want the camera to “fly,” there’s no substitute. Companies like Glidecam have cost-effective, but very well-made camera stabilizer systems.
Sure, they aren't perfect, but HD video-capable DSLR still cameras shoot full raster 1920 x 1080p video in a range of frame rates at incredible price points. An up-close look at workflow concerns, feature sets and production pros and cons.
Jem Schofield
November 4, 2009 Source: Studio Monthly
Back in September of 2008, something happened. A slick, Hollywood-style short film was posted to the Internet. So what? Nothing new. Ever since the advent of DV camcorders (like the Panasonic AG-DVX100), we’ve been seeing some amazing talent crank out stuff on alternative film cameras that sometimes just makes our jaws drop. All for “pennies” and lots, I repeat, lots of blood, sweat and tears. So, what made this short film so special? Sure, the production value was there; fast cars, helicopters, good looking people and an insane use of selective focus. It was obvious that there were a number of lenses being used and it looked great. Film, RED, a 35mm Lens Adapter attached to a “large” sensor broadcast video camera?
None of the above. As we now know, we were watching the beginning of a sea change in acquisition. That little short film, Reverie, shot by photographer and filmmaker Vincent Laforet, was filmed on the Canon EOS 5D Mark II (5DMKII). A full-frame DSLR still camera, that just happened to shoot full raster 1920 x 1080p video at 30 frames per second (which was rumored to have been added for the Associated Press, so that photojournalists could shoot video and stills with the same camera). In a word, wow. Not since RED ONE had there been that much buzz over a new breed of camera. With the recent introduction of the 7D, a junior version of the 5D, and the 1D Mark IV, the buzz continues to gain momentum.
I, along with many other people I know or followed in the industry, were blown away by Laforet's film, not just for its aesthetic value but for what it meant: It had many of the qualities we associate with high-end cinema but was shot on a camera that cost less than most 35mm lens adapters on the market. A $2,700 camera that has a GINORMOUS image sensor (roughly double the size of a Super 35mm imager). A $2,700 camera that, as you might expect from a company known for its optics, has an interchangeable lens system that supports Canon’s full line of EF lenses. This $2,700 camera that is also, arguably, one of the best DSLR still cameras on the market.
Notice that I refer to the 5DMKII as a camera, not a video camera. That's what we must all keep in mind when considering DSLR for our video projects. The current crop of DSLR-style cameras that shoot HD video are just that: still cameras that have the ability to shoot video. HD SLRs, HD DSLRs, VDSLRs—these are just some of the names the industry has come up with for these cameras that shoot HD video. How we love acronyms! I could go on at length about all of the above. Instead, I'll focus on DSLR for this article, comparing feature sets among the various models and giving you a hit list of must-have gear if you want to build your kit around one of these cameras.
What’s Out There
There are a number of DSLR-style cameras on the market from Nikon, Canon and Panasonic, although Panasonic’s cameras are not technically DSLRs as they don’t contain mirrors. At the time of this writing, Canon is clearly leading the way. The company currently has three true DSLR cameras that are serious contenders; the Canon EOS 5DMKII, the EOS 7D and the recently announced EOS 1D Mark IV. Each camera has pluses and minuses. One thing they share, however, is manual control over aperture, shutter speed and ISO, or film sensitivity. This was not the case with 5DMKII when it first came to market (and hats off to Vincent Laforet for pulling off Reverie without that control). But that changed this past June when Canon released the 5DMKII 1.1 firmware update.
The 5DMKII has a full-frame, 35mm sensor. Put a 50mm lens on the camera and it is a 50mm lens. The 1DMKIV has an APS-H sensor with a 1.3x crop factor and the 7D has a APC-S sensor with a 1.6x crop factor (roughly the same size as a super 35mm imager). If you put a 50mm lens on the 7D, you've got, effectively, an 80mm lens.
Canon stayed true to its original EOS customer base and designed each of its DSLR cameras as a still camera first. Clearly video was not just an afterthought. Each camera has features that different video users will want. The full-frame 5D is probably the best “traditional” still camera. This also means it is excellent in low light, though the new 1DMKIV, with it’s new ISO “tuning," will be the clear leader in that category. The 5DMKII currently only shoots at a true 30fps, but a firmware update is coming that will add 24p and 25p to the camera. The 7D is the price point leader and has something the 5D doesn’t currently have: frame rates. At 1920 x 1080p, the 7D (and the 1DMKIV), can shoot 24 (23.976), 25, and 30 (29.97). At 1280 x 720p they can shoot 50p and 60p. Shoot at 60p and drop into a 30 or 24 timeline and you have over-cranked footage that will play in slo-mo.
Panasonic has a different approach. The company's Lumix GH1 has a micro four-thirds sensor approximately four times the size of a 2/3-inch sensor. Not as large as the Canon DSLR cameras, but still ginormous. The camera itself, as I said above, has no mirror. This is a MAJOR advantage. No mirror means that virtually any mount can be used with the camera. You can use, among others, a PL mount adapter on the camera, something that can’t be done without some serious modifications to a standard DSLR. This means you can use lenses like Zeiss’s Compact Primes on the GH1.
The GH1 shoots in a number of frame rates and does shoot 60 and 24. This is a great first camera for this market from Panasonic and it even has a custom-designed lens that, though not fast, is definitely the most video-based lens of all the shipping DSLRs. The data rate used is quite low, but the camera is capable of producing remarkable images.
Some of Nikon’s players are the D90, D300s and the D3s. Again, there are trade-offs with each. Just like the Canon cameras, each has it’s advantages in terms of sensor size, features and cost. Based on user experience, the biggest thing that the Nikon cameras are having issues with are rolling shutter. Lots of “jello-cam”. This, though, is reportedly much better in the D3s. All CMOS sensors suffer from rolling shutter. Some cameras more than others.
The D90 also doesn’t have manual control over aperture and ISO—a major disadvantage when shooting video under varying conditions (think outside). As with all of these cameras, it’s important to really dig and see what you aren’t getting before you buy. I am not as familiar with Nikon’s offerings, but have seen some really beautiful stuff shot with them.
In the Real World
There are currently lots of things being shot on DSLR cameras. Independent features, music videos, industrials and even show opens and parts of TV shows. I just shot my first real DSLR job for a client on two 5DMKIIs. Real client, real crew, real locations. Here's an excerpt. To watch it in its full aspect ratio and find out more about the project, visit theC47.com.
While each DSLR camera uses a different codec, the most common is some flavor of the H.264 codec. All three Canon cameras, for instance, shoot 8-bit, 4:2:0 footage in the H.264 codec (in a QuickTime wrapper). H.264 is a fantastic distribution codec, but just as MPEG-2 posed its post-production challenges (nightmares), with the advent of HDV, so does H.264. While our systems have caught up to MPEG-2 and can comfortably edit HDV, XDCAM HD and XDCAM EX footage natively, most flavors of H.264 are a different story. Our systems can’t comfortably recreate all of those partial frames in realtime (at full frame rate). H.264 is very efficient but it can use frame reordering during compression, which can make it even harder for out NLEs to keep up.
What does this mean? Well, it generally means that when working with the current crop of DSLRs, you will probably want to transcode you footage to a more NLE-friendly codec. I am based on a Final Cut Studio workflow, so my codec family of choice is ProRes. I have a preset set-up in Compressor that automatically takes my 5DMKII footage and transcodes it to ProRes for easy editing. XDCAM EX is another option.
And then, there’s the audio issue, or lack thereof. I recently wrote a full article for Abel Cine Tech on this subject. While each of these DSLR cameras can produce remarkable images, they are terrible, simply terrible, at audio. Each has built-in audio capabilities but none of them give the user any real manual control over what’s being recorded. Most important, all of the cameras use Automatic Gain Control (AGC) when recording. And, it can't be disabled, except without workarounds.
AGC works on the equality system. If Jane is talking to the camera and suddenly someone makes a sound in the background, the AGC will kick in. It will adjust (increase), the mic's gain and try to make them as loud as Jane. The audio levels will be all over the place and unwanted white noise can be introduced into the recording.
There are a number of current solutions that you can use to get around this and ensure that you're getting the best out of your audio on your DSLR-based projects. The most common and sane is recording double-system sound: recording your audio to a separate device and syncing the good audio with picture in post.
The most popular, cost-effective, recording solution being used for DSLR recording is the Samson Zoom H4n. It's a portable flash-based recording device that has a built-in stereo microphone and also has two XLR inputs. The only real disadvantage I have run into with the H4n is that you can only set one recording level for both of the XLR mic inputs (which are recorded as stereo to two discreet channels). If you’re serious about your audio, you may want to consider adding a field mixer such as the Sound Devices 302. This will let you control the individual levels for up to three mics and run them as two outputs into the H4n. It’s what we used for my first DSLR project for The Cooper Union and the results were great.
Putting It All Together
Once you have recorded double-system sound, what do you do in post? If you're using Final Cut Studio for post, Singular Software makes a product called PluralEyes, initially designed for Final Cut Pro, that works wonders. It has saved me days and days of work.
PluralEyes lets you drag your good audio (recorded to an external device, such as the Zoom H4n), and the picture and reference audio from the DSLR cameras into a Final Cut Pro sequence. You then fire up PluralEyes, press Sync, and it lines it all up in one click (it even creates new sequences with the synced versions). Amazing!
If you are using another NLE for post-production, slating each take during acquisition is essential (it should still be done if you have and are using PluralEyes). The current gang of DSLRs don't record timecode, so slating will give you a definite visual and auditory reference to make syncing in post much easier.
Shooting Style Considerations
A lot of people have very strong opinions about frame rates. Ever since the DVX100 came out, there has been almost a religious viewpoint about shooting 24p. For good reason: it’s the de facto frame rate for feature films, hence the cinematic aesthetic we associate with anything 24p.
That said, the 5DMKII proved once and for all something to me. With a large sensor, great glass and a competent shooter, the frame rate may actually be the least important part of the equation in creating a film look.
I have watched tons of stuff shot on the 5DMKII at 30fps that unless I was told, I would have had a hard time telling if it was 24 or 30. There are so many other factors that contribute to the film look and if you’ve got the mongo sensor, great glass and your shutter set to approximate a 180 degree shutter (1/60th on the 5DMKII), your footage will look fantastic. That doesn’t mean that if you treat the camera right when shooting that you shouldn’t shoot 24 if it’s available. But I have seen many things online that were shot at 24p that look bad (stuttery), which could be attributed to the compression being used. More than likely it is due to how the footage was shot. Just remember that 30p is more forgiving than 24 and that it’s still progressive.
In fact, I’m going to come out and say it: I LOVE 30p!
That said, I have been on shoots that now mix RED footage with DSLRs. Shooting with the 5DMKII in that situation was less than ideal. The 7D is a much better fit, as it can match frame rates and also has a sensor that is very similar in size to the RED ONE.
Support Systems
I have been shooting, almost daily, with the 5DMKII for about three months now. The camera definitely inspired me. In our less than stellar economy I found myself with some (read lots of) time on my hands. So, I decided to start a daily video blog (5x a week), focused primarily on production. When the 5DMKII gained manual controls, I knew it was the camera for me. After that, I set up and launched theC47.com.
Currently I find myself using a variety of different configurations. My standard set-up is a 5DMKII on sticks (Miller DS-20 tripod system), a large daylight balanced softbox for a key, a large reflector for fill and a CTB-gelled Arri Fresnel as a backlight (broken up with camo-netting used as a cookie).
Handheld gets a little tricky without any support system. Image stabilized lenses are recommended if you have zero support except your hands. My current favorite is Red Rock Micro's The Event. Couple with Hoodman USA’s HoodLoupe 3, you can create a handheld rig that has four points of contact. Much better for smooth shots.
Hot Rod, Cinevate and Zacuto also make some excellent support systems for DSLRs. In the end its finding the right system for you and your shooting style.
Are DSLRs Here to Stay?
While DSLRs are not camcorders in the traditional sense, they have their place in acquisition. As long as you are aware of their shortcomings and are willing to deal with the trade-offs, they can be used to create some amazing imagery. The ability to throw a 1080p camera and a half dozen lenses in a small backpack is in itself simply amazing.
What is even more exciting, though, is that we can now look into our crystal balls and pray, hope and beg that these large sensors and a flexible interchangeable lens system move upstream and we see some innovative products come to market. I, for one, am extremely excited about what’s to come.
Eventually, my hope is that we will all be able to pick the form factor that best suits our needs with little to no compromise in image quality. We may not get away from double-system sound in a DSLR camera form factor any time soon, but I do believe that many of the other issues that plague CMOS sensors will get sorted out in the future. Even the just-released Canon EOS 1D Mark IV, reportedly has far less of an issue with rolling shutter artifacting than the 5DMKII and the 7D. It still, however, has issues with aliasing.
I’m not up to 3D acquisition yet, but I am very ready for the next crop of video cameras that incorporate these ridonkulous sensors and still retain what we love about “real” video cameras: uncompressed monitoring of picture, XLR inputs, built-in ND, OIS, manual audio control, real codecs, etc.
The lines are blurred and I love it!
Jem Schofield is a producer, creative director and author who consults on and teaches production and post-production solutions throughout the United States. His company, Buttons Productions, produces commercial video, print, motion graphics and DVD based projects. He is also the founder of theC47 and theC47.com, an online and offline resource for production based training, information and services. Clients include Apple, Inc., Verizon, The New York Times, Vision Research, Manhattan Records, Abel Cine Tech, BlogTalkRadio and The Cooper Union. He is an Apple Master Trainer and author of the upcoming Apple Pro Training Series book entitled Motion 4 Quick-Reference Guide. He is also the co-author of the Apple Pro Training Series book entitled Motion Graphics and Effects in Final Cut Studio 2 and a contributing author of the Apple Pro Training Series book: DVD Studio Pro 4, 2nd Edition. For more about the production and post workflow used on The Cooper Union project, visit theC47.com.
Samson's Zoom H4n portable recording device, above, is probably the most popular, cost-effective, recording device being used for DSLR recording right now. It also works great in post with PluralEyes within FCP. The app lets you drag and sync your good audio recorded to the Zoom H4n, and the picture and reference audio from the DSLR cameras into a Final Cut Pro sequence.
If you’re serious about your audio, consider adding a portable field mixer, such as the Sound Devices 302, so you can control the individual levels for up to three mics and run them as two outputs into the H4n.
Comments (11) for "Psyop Enchants a Sustainable Message for FedEx"
1.
Nice article, but I do wish that you would have also explained that DSLR's have lower resolution than 1080, due to limitations in the ability to move information from the sensor. And that the different cameras seem to handle the issue in different ways--with different results. Many buyers seem oblivious to this.
Posted by Craig Mieritz on Wednesday, November 4, 2009 @ 06:16 PM
2.
Craig,
You're right. Many of these cameras do shoot in not only multiple frame rates, but also multiple resolutions. I do mention that cameras can shoot at 720p, but there are SD options as well (though that is not what the vast majority of users are shooting with DSLRs).
Is that what you are referring to, or something else? What do you mean by "the ability to move information from the sensor"?
Each camera has a different approach, but the Canon series mentioned in the article all shoot full raster 1080p.
-Jem
Posted by Jem Schofield on Thursday, November 5, 2009 @ 11:41 AM
3.
I wonder when they'll figure out a dslr is just a click or two away from a small dslr that will shoot a continuous set of frames versus just video files. Then you could have a small, portable Red-type camera for very little cash.
Posted by Jonathan on Thursday, November 5, 2009 @ 01:06 PM
4.
Jem,
You misunderstood what Craig was referring to as far as the downscaling occurring in the 5DM2.
The amount of aliasing which results leaves much to be desired in any DSLR versus a native full raster 1920x1080 camera.
Craig's point that end user's overlook this and other facts is partially due to the sheer amount of hype and misinformation which is circulating on the web.
I regret your article fits into the latter category for overlooking the issue Craig raises.
This is nothing new as every generation of "digital wonder bread" equipment thrives on a sea of technological starved end users who dream "more for less."
To each their own.
Jack Thompson
Posted by jack thompson on Thursday, November 5, 2009 @ 04:37 PM
5.
I wonder if you could talk a bit about the exposure latitude capabilities of the current crop of DSLR HD shooters. We did a shoot a week ago on the 5D (most recent firmware) and while the images were indeed beautiful, we were disappointed to find that the camera had, at the very most, 5 stops of latitude. So, at any given ISO setting, we were only able to see detail in anything at 2 F-stops over or under normal exposure, before losing detail to complete black or complete white. This is definitely a disappointment, when most HD video cameras have at least 7 stops of latitude, the RED has (I'm guessing) 8 or 9 stops, and film has at least 10 and often 12 stops.
I'm not unappreciative of what these DSLRs can do, and of course with a new technology at such a low price point there will be compromises. But I did find that disappointing, and it will be difficult to shoot film-style with the camera, using a light meter (or even without using one) with such a limitation.
Any thoughts about latitude on DSLRs in general, on the 5D, or any of the other cameras you mentioned?
Posted by Leigh on Friday, November 6, 2009 @ 03:41 PM
6.
Hi Jack,
Towards the end of the article I acknowledge that there are aliasing issues with DSLRs. It's a very real issue as is moire.
I am well aware of the shortcomings of DSLRs and definitely am not trying to sugar coat anything. These cameras, when used properly, can produce remarkable results. They are not a one size fits all by any means. Far from it.
They are great in certain situations and allow young filmmakers a great opportunity to focus on glass and being able to create some remarkable images which will hopefully help tell their stories.
Exciting times, but early days.
Every camera has it's issues (including RED and high-end Sony & Panasonic cameras). DSLRs have their issues, but also their place.
-Jem
Posted by Jem Schofield on Friday, November 6, 2009 @ 03:53 PM
7.
I agree with Jem. My DP and I have been able to get some beautiful imagery from the 5D MrkII within a narrative context.
Judge for yourself:
http://www.vimeo.com/7107575
http://vimeo.com/6823324
For a camera whose video was almost an afterthought, I've really grown to love it's pros, while tolerating it's cons.
-Ken
Posted by Citizen_ken on Thursday, November 12, 2009 @ 04:47 PM
8.
I assume you need to use ND filters outdoors to slow the shutter down enough to produce enough blur - could someone speak a little bit about that?
Posted by hank on Monday, November 23, 2009 @ 01:39 PM
9.
I use the Vari-N-Duo filter from Singh-Ray...
http://www.singh-ray.com/varinduo.html
They also make a Vari-ND that doesn't have the polarizer feature.
The goal is to actually keep the shutter the same and just be able to open the lens up (especially when trying to simulate a 180 degree shutter). That would be 1/60th on a 5DMKII and either 1/60th if shooting 30 or 1/50th if shooting 25 or 24 on a camera like the 7D.
-Jem
Posted by Jem Schofield on Tuesday, November 24, 2009 @ 09:53 PM
10.
So, has anyone heard any rumors regarding the oversized sensors in a camcorder form factor?
Posted by Pete May on Thursday, December 3, 2009 @ 04:33 PM
11.
Panasonic has the AG-AF100 with the m4/3 mount. Sony also has something in the works.
http://vimeo.com/10993902
Posted by kevin legrande on Wednesday, June 9, 2010 @ 08:21 AM
