The video production
world is an interesting maze of equipment vs. skill vs. creativity vs. monetary
means, and it's really easy to get lost in a world of frame sizes, codecs, lenses,
frame rates etc. Even harder to navigate: a topic that has two very stubborn
sides to it, both with very valid arguments and both unwilling to budge on what
is better and why. In this blog, I am going to attempt to keep things as
neutral as possible and just stick to the facts, but I will make it known early
on that I prefer DSLR (Digital Single Lens Reflex). I own a 5D Mark iii, but also love shooting on
camcorders. So here are the most starkly contrasting points between the two
mediums; I leave it to you to make up your own mind.
- Recording Style
In the beginning, DSLR cameras
were created for photo-journalists to be able to take high quality pictures in
non-optimal conditions while on scene. This idea translated into capturing
high-def video in the same situations. Camcorders were always made for fiction
cinema creations. They were designed to be put on a tripod or glidecam, and
used to tell an intricate and beautiful story. For this reason, videographers
and DP's (Director of Photography) prefer the look and feel of a camcorder because that's what we've been
shooting on for the last century. People look at my 5D Mark III on set and wonder if
I forgot to take my meds because that's a photo camera (at least in appearance).
"Hey
guys, I'm here to shoot your movie... one
frame at a time"
DSLRs
were never meant for fiction storytelling, as anyone against them will tell
you, and that they're not up to standard for capturing the medium. The reason
you're seeing them used more is because of how inexpensive DSLRs can be. Here
at EFillF, we shoot on both types of cameras depending on the scope and budget of the project. So, for the type of camera chosen, their are two components to look at. What you can
afford and what it is you are shooting.
- Audio Capturing
It is a well known fact the DSLRs fail
completely when it comes to capturing any sort of usable audio. Each camera
comes with some form of built-in microphone but it's sub-standard at best; and then is
run through a massive compression that comes out as unusable audio. Camcorders
likewise come with microphones but those are meant to capture single voice
audio in front of the camera and it isn't run through a huge compression.
Though, HVX owners will tell you that the audio is also unusable. The end point
is that with both systems, you should hire a Field Audio Recordist who solely captures
audio to a separate capture device.
- Storage
Capacity
The good news is that every type of camera is moving toward
high speed SD cards in their cameras; i.e., Blackmagic, GoPro, All DSLR. But
the high-end cinema cameras HVX (p2 cards), RED and Arri need attached SSD's
(Solid State Drives) in order to capture their high quality. (Yes, I know the
Arri Alexa has an in-camera capture system too, which is awesome and should be
praised). Those things add some real high dollars to your camera costs, which
are worth it if you have the capital, because the picture is unbeatable. But in
comparison to SD cards, which are super cheap and plentiful, those are
outrageous additions to your budget.
Call
me the Dragon.... Because I'll burn all your money away.
- Lenses
and DOF (Depth of Field)
The really good news between emerging Camcorders and what
DSLRs always had concerns interchangeable lenses. The ability to adapt your
recording device to any sort of picture look that is required will always need
a change of lens, and the first version of digital camcorders didn't include
that ability. It was up to the user to manually set the settings so the camera gave the look you wanted, rather
than the lens. Now, that's no longer
an issue; all high-end digital cameras have interchangeable lenses, especially
now that Panavision is releasing their first line of digital only lenses (see
last week’s blog: "Newest Camera Tech: November Addition"). Depth of Field is an entirely different story. The second
reason video makers gravitate toward DSLRs (the ones with full frame sensors)
is that the DOF field can be likened to a 35mm film camera in how narrow you
can make it. This has been beyond the ability of most camcorders until now, but
once again with the new lenses coming out that will most likely change for all
camcorders too.
So what do you do? Save all your
money for the expensive equipment that everyone agrees is better and should be
the only standard for fiction video making? Or, go for the cheap DSLR set up
that affords you more opportunities to put that money toward production quality
and acting? My advice is neither. I wrote a blog a while back entitled "5 Best Investments When Starting a Career in Video" and I still stick with the points I laid
out in that blog. Cameras can be rented and the fact that digital technology
keeps doubling every 13 - 18 months, even if you buy the most expensive newest and biggest thing on the
market it'll be out dated by the next year. As for which type of camera you
should use, try them both, see what you're comfortable with and which ones
gives you the best production value. We at EFillF are unbiased as to which
camera is being used, as long as it is the best camera for the job at hand.
Written By: Jeremy Hatfield
Associate Producer/Blogger
Edited By: Laura Ettinger
Public Relations
EFillF Productions, LLC
No comments:
Post a Comment