Is there no bad news at all when it comes to this way of video production? You betcha! However, there are also a growing number of ways to overcome them. Let’s review them:

1.Stability

First of all, a stills camera is built to maintain steady for about 1/60th of a second, not to record 24 frames or more per second (i.e. shooting movies). Enter Zacuto. This Chicago-based corporation, founded by people with a history in camera work, cranks out one after the other innovation that helps DSLR-shooters to stabilize their shots. Also: enter CineKinetic (or Visual Departures). Using the Mini- or BabySaddle (or the much cheaper SteadyBag) allows you to create stable shots even while in moving objects such as a car, train, tram, bike or air plane. For those who like to walk: enter Glidecam. And for those who are ready for more professional dolly shots: enter GlideTrack and WallyDolly. However, be careful with too fast movement as the CMOS sensor chips do provide some jello effects (see below).

2.Sound

Second, DSLR cameras suck at sound recording. The built-in mic is miserable and the camera does not feature a professional XLR input. Above and beyond they should fix the Automatic Gain Control (AGC) in the next firmware upgrade and allow at least for on screen manual control of dB levels. Also, there is no way to monitor the audio by headphones as the LCD is turned off when you attach your head-set to the AV Out on the Canon 5D (the 7D has a different plug). But, then again, sound recording was never a topic by design. Enter Zoom. The portable H4N recorder provides the DSLR-shooter a simple device that excels in sound recording, allowing for up to four independent channels at the same time (1x crossed stereo at the front and 2 XLR inputs for external mics). Synchronization is done in post with a reference signal, such as clap of hands or clapper board in front of the camera. It is therefore key to keep recording sound on the DSLR for reference audio purposes. And, if you are editing on Final Cut or Sony Vegas, enter PluralEyes (too bad I’m on Adobe Premiere Pro). If you do want to have manual control of audio on the camera itself then the Magic Lantern firmware hack may be an option.

3.Light

DSLR cameras do beat any video camera when it comes to low level light situations, fair and square. Nonetheless, and this applies to any type of camera, having enough and right amount of light is crucial to the end result. Various suppliers have entered this arena, offering useful equipment at interesting prices. Enter the Dedo Ledzilla and Litepanel Micro.

4.Filters

If you want to go for that shallow depth of field, you have to open up the iris on the camera. In a stills camera this may easily result in over exposure. Most photographers would be tempted to start changing the ISO setting or shutter speed. Shutter should be kept at twice the frame rate you are shooting (e.g. 30p –> shutter at 1/60th, 24/25p –> shutter at 1/50th as 1/48th is not supported) to adhere to the 180 degree shutter rule in cinema. A better way to reduce the incoming light: enter the Neutral Density filters from Singh-Ray (effectively two circular polarization filters combined into one). This gradually reduces incoming light from 2 to a full 8 stops.

5.Viewfinder

In order to be able to judge sharpness, you do need a proper viewfinder. Since the viewfinder on the DSLR is blocked when entering live mode (i.e. required when shooting video), you need to see detail without being distracted from incoming light falling on the LCD screen. Enter (again) Zacuto with the Z-Finder. Is looking through the lens not an option due to the position of the camera? There are alternatives like the 720p native resolution LCD-screen from SmallHD.

6.Rolling shutter or Jello effect

This is indeed a problem on most DSLRs. The effect occurs most when you quickly pan the camera or when fast moving objects enter the frame. Solution: don’t whip pan – record more slowly and speed up in post. If that is not an option (e.g. you have people or moving objects in frame), an After Effects/Nuke plugin called RollingShutter exists to fix it. Now it does feel great again to be on Adobe

7.Editing AVCHD

The DSLR cameras record in AVCHD format using the H.264 codec. Neoscene by Cineform creates an intermediate format using wavelets to decipher those much required intraframe images and alleviates your processor from having to calculate them.

8.Compression versus color

Although DSLR cameras are capable of registering HD video with a full frame (35mm) sensor, a lot of compression is used upon recording it to a compact flash card. This means that component video (4:2:2 or 4:4:4) is typically not available and that color grading is done on a composite signal. This makes heavy color grading, matte painting, chroma keying or rotoscoping in post more of a pain. However, for basic post-production color grading: enter RedGiantSoftware. Using Magic Bullet Looks allows for fast and efficient (or slow and extensively) grading those shots. Philip Bloom explains. If you still want more: Cineform will help you with the process by re-creating a 4:2:2 intermediary file format. Not ideal but workable.

9.30p versus 24/25p
In order to realize that cinema or film look, the video should be recorded the way film is traditionally made. Meaning 24p or 24 full frames per second. In planet NTSC the framerate is 29,97, while 25 in PAL markets. Initially, the stills guys thought they could change the world by going for 30p (dead-on, not drop-frame) as the new standard for video. Wrong idea. Since there are still way more televisions than cameras on the planet, this has turned out to be lost battle from the start. When conforming 30p to 24p you are actually shooting in slight slow motion, or you ask your computer to take out or combine frames. This gives a slightly noticeable visual effect and easily introduces audio sync problems as well. Canon has realized their mistake and is starting to correct it. The Canon 7D now supports various frame rates (24/25/50 in PAL and 24/30/60 in NTSC), while a much-anticipated firmware upgrade for the 5D mark II is (hopefully?) due for release in January 2010. Come on Canon, make us even more happy




1.Recording limit

he recording limit on most DSLRs is about twelve to fifteen minutes for a single take. For what it is worth, from what I heard this has something to do with import restrictions. If they go beyond, these products are no longer regarded as stills cameras and fall in a different tax category. Another story says that it has something to with the 4GB file size limit (support for 720p would partially solve that). Either way, is it a problem? In my opinion, no. Unless you are recording a live event, most shots are likely to be way shorter than that. Most important thing for continuity’s sake is to record the audio properly — you can fill in the blanks in post afterwards with extra material you shot before or after the event (or stills from slides if you’re recording a live presentation).

Shooting from the hip with Zacuto Kit and SmallHD screen
Okay. Enough about the pit-falls. Time to see some more examples of what you can do with these cameras. Here is a wedding recorded with a 7D, and do check out this short titled Perya as well. Also, see the amazing effect of using tilt-shift lenses in this short movie which was recorded in Switzerland, although it appears to be shot in a miniature toy park. To the right is a visual of Michael Robertson (aka Velodramatic, a photographer with 20 years of experience in cycling photography) who shot his first video production with a 5D-Mark II and borrowed Zacuto gear. Finally, here is my very own first video shot with the 5D. Topic is Christmas in London 2009, shot over a period of two days. I used the following gear:

•5D-Mark II
•Canon F1.2 50mm USM II
•Canon F2.8 24-70mm USM
•Zacuto Z-Finder
•Zacuto Tactical Shooter
•Rode Videomic
•Singh-Ray VariND 77mm
(not usable on 50mm lens – 72mm ring (!) – therefore some shots have blown out skies)
•6 Canon Batteries
•Graded with Magic Bullet Looks


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