In light of the big price reductions on the AquaTech SportShields in the store, we thought we would repost a little video review of them (and other good AquaTech stuff) by our buddy Juan Pons.
Juan Pons brings you the features of the AquaTech SportShield Rain Covers, Collapsible Lens Hoods and the AquaTech Soft Cap lens protectors in this informative video.
You can see the entire AquaTech lineup here: AquaTech
Yesterday I wrote about some of the advantages of shooting videos with DSLRs, which hopefully gave you an idea why they have become so popular.
There are two sides to every coin, and video on DSLRs is no different. Some major drawbacks exist as a result of where we are in the evolution of these new hybrid camera systems.
Video capable DSLRs are first and foremost designed and engineered for taking still images, with video being a secondary function. As such, you can expect manufacturers to prioritize functionality and design accordingly. Also expect any compromises that inevitably need to be made, to be made in favor of still photography.
So here are some of the areas that I feel are most challenging when shooting video with your DSLR.
Audio Recording
Audio can make or break your video, and what I mean by this is that bad audio can ruin even the most spectacular video you've ever seen. Yet, good audio usually just goes completely unnoticed. Just like we control the amount of light we let into our camera with stills, we need to control the audio levels as well. Just like we have a viewfinder to see what it is that we are shooting, we need a way to monitor the audio we are recording to make sure we are capturing the right sound.
Unfortunately, most video capable DSLRs don’t have any audio controls. They have something called AGC, or Auto Gain Control, which makes the audio sound terrible in any situation where the sound levels fluctuate.
But there are ways around this. I wrote a two part article here that shows you how to record good audio:
In the first part I show you some bad audio and some good audio so you can judge for yourself how important this is.
Rolling Shutter (Jello-Cam)
This is probably the biggest issue with DSLRs for which there is no solution. "Jello-Cam" is a phenomenon that is caused by the way the sensors in DSLRs capture the image: they use what is called a rolling shutter. For a good definition and examples check out this wikipedia page: http://en.wikipedia.org/wiki/Rolling_shutter
Jello-Cam really comes into play only when shooting fast moving subjects or when you are moving the camera very quickly. For me, personally, this is not a factor, but it may be for you.
No Articulated LCD Screen
Not having an articulated LCD screen can be a a pain, and sometimes quite literally a pain in the neck. In most cases I'm not holding my camera right at eye level. Usually I am holding it lower, or to the side or sometimes up above. Having a fixed LCD on the back of the camera makes it difficult to see what you are shooting in these situations. Attaching an external monitor can remedy this, but they are usually expensive, and it’s just another piece of gear to carry around.
Limited Autofocus Functionality
This is one of the things people complain the most. However most professional camera operators do not rely on autofocus, focus is almost exclusively done manually. In movie sets they have people whose SOLE responsibility is focus! For me this is not a big issue. Yes most AF systems are very good a focusing on what is in front of them, however most AF systems are not very good about reading your mind and knowing exactly what to focus on, and most often than not, the thing I want in focus is not in the middle of the frame.
No Power Zoom
This is another limitation that does have an effect on most folks. Butter smooth zooms and pulls, are often done by motorized power zooms. I don’t know of a single DSLR still lens that has a power zoom. However with practice you can get very good at zooming. I have seen people do it very very smoothly, as well if not better than the best power zooms. So this can be overcome with practice, also you can use a follow focus mechanism for this to make it a bit easier.
No Built-in ND Filters
In the first part of this article we talked about the awesome shallow depth of field that DSLRs provide us with and that this is quite possible the single biggest reason why these cameras are so revolutionary. Naturally, this is something we want to take advantage of, however in very sunny situations we may be forced to deal with smaller than desired apertures to keep our exposure in check. In very bright sunny situations, even at ISO 100 you may be forced to go as low as f16 to keep proper exposure (since you want to keep your shutter speed at around 1/60, this may be a topic for another article). So in a situation like this what do you do? You use a neutral density filter. An ND filter is nothing more than a dark piece of glass that is neutral in tonality so as not to introduce any color shifts, that simply cuts the amount of light entering the camera, thus allowing you to keep a wider aperture.
Why is this a limitation you ask? It’s not, this is something that affects every camera from the cheapest to the most expensive, BUT professional video cameras have built in ND filters in different strengths that you can turn on and off, with DSLRs you need to add ND filters in front of the lens either thru screw-in filters or thru a Matte Box.
Length of Shot limitations
Most video capable DSLRs have a limitation on how long a single shot can take, normally this limitation is time based, sometimes file sized based, or a combination of both. On the Canon cameras it’s a combination of both factors, but it effectively limits you to about 12 minute long shots. 12 minutes is a LONG time for a single shot, so for most of us this is a non issue. I personally never even come close to that, but again depending on what you are doing you might. If you are looking to record hour long interviews with people, this will certainly be an issue for you.
In Summary
Yes there are some serious issues and limitations when shooting video with these video capable DSLRs, specially when compared with dedicated video cameras. But by the same token these cameras provide capabilities and conveniences unmatched by traditional video cameras. As with everything else in life, the choice here is a matter of compromises, so you need to determine what is most important to you and make your choice.
In the end for me the benefits offered FAR FAR outweigh the limitations and inconveniences, so now I shoot video exclusively with my pair of Canon 7Ds!
I am amazed that there is a debate still going on about why anyone would want to use a DSLR for shooting serious video. The arguments remind me of the early days of digital photography, where many out there would argue that images NOT taken on film were not real photos. Today we know differently.
To this end I want to share with you why I shoot video with a DSLR, what I find the be the advantages and disadvantages of using what many are now referring to HDDSLRs (I personally prefer the term Video DSLR).
In this first installment I will talk about what is great about shooting video with DSLRs. Tomorrow I will follow-up with what I consider to be the shortcomings of such systems.
Multiple lenses
This is by far the most important reason for me to use a DSLR to shoot videos. I can use my entire arsenal of still lenses. I can use my macro lenses, my wide angle 10mm, my Super-telephoto 500mm, even tilt-shift lenses. This flexibility is completely unprecedented, that is, unless you had a large personal fortune you did not mind spending it on lenses and cameras. I grew increasingly frustrated with my previous video camera because I could not capture the macro images I wanted to film due to the lens limitations of my camera. The Yellowstone video above I would not have been to capture if I had not been able to shoot with my 500mm lens. Yes there are video camera systems with even greater reach and incredible zooms, but some of these can cost more than $100,000, and at those prices these are out of reach for most people; including myself.
Low Light Capabilities
Because of the large sensors DSLRs have, these cameras have what could be considered nothing short of spectacular low light capabilities. Art Howard, on a recent assignment, was able to shoot video of sleeping bats inside a cave using nothing more than the headlamps they were wearing. Last year I was able to capture some great footage of Pine Barrens Tree Frogs using nothing more than a small battery powered lamp, as you can see the in the video below. Neither of these shoots would be been possible under the circumstances with traditional video equipment as these shoots would have required significant lights, which would have been impossible to use in either of these two situations.
In photography we control the depth of field in our images by adjusting the aperture on our cameras. The wider the aperture, the shallower the depth of field. But did you know that your cameras sensor size also affects the depth of field? True! All other things being equal such as lens and aperture, two cameras with different sensor sizes will produce different depths-of-field. For example, a Canon 5D MarkII will produce a shallower depth of field than a Canon 7D, as the 5DII has a larger sensor than the 7D.
You may now be asking, why does that matter? It matters a lot, as most video cameras have TINY sensors, typically 1/3″ or 1/4″ or 1/5″, compared to a full frame still camera sensor, which is about 1.4″. What this means is that video cameras have a very deep depth of field. Think about this for a minute. As a still photographer, if I took away from you the following apertures (2.8, 5.6, how would you feel? I know I would feel severely limited creatively. That's how I felt when using a video camera. True, I’ll take as much DOF as I can get when shooting macro, but everywhere else, I rather have my entire DOF range at my disposal, to use as I please.
This DOF issue is one of the primary reasons why most movies are still shot using film. Film is a LOT more expensive to shoot with, you can’t see the results immediately, and it’s a hassle to deal with. Independent filmmakers have been embracing the DSLR for movie making in droves, because the DOF control these systems offer allows them the tell their stories better without the expense of using film.
This is my last point, but by no means the least important. ONE SYSTEM. What I mean by this is that I have one type of battery, one type of charger, one type of memory cards, one type of lenses, one type of tripods and camera plates, etc. I don’t have to carry multiple formats of the same thing as my photo equipment serves multiple purposes. But MOST important, I only need to learn and know how to operate ONE type of camera. No need to learn multiple switches, dials, controls, menus, capabilities, limitations, etc. These are the same properties of my still camera, because IT IS my still camera. I know the controls of my camera to the point I don’t need to think about them or look at the camera to make any changes, I just “know” how to make these changes without even thinking about it. This is hugely important, because when you need to make a quick adjustment, you just make it, no thinking about it, no need to try and remember where the controls are on this camera, it just happens, and consequently I get the shots I am looking for, more often than not.
The video landscape is not all rosy–there are certain limitations and issues. I'll cover those issues tomorrow, and what I do to overcome them.
However, in my opinion, the positives FAR outweigh the negatives, but you need to decide that for yourself. Hopefully these articles will help you make your own decision.
If you've never used a modular system for carrying your camera gear, check out this video courtesy of Think Tank Photo and presented by photographer, Photoshop author, trainer and guru of digitalmastery.com Ben Wilmore. Ben explains how you can become more efficient, lighten your load and make taking photos while on the go, much easier. Sweet!
Check out this nice video of a morning shoot that Alan Murphy and I did together in South Texas. Still images from the shoot are interspersed with the video of the birds' activity. It makes me want to go back right now!
More information about Alan's workshop where this video was shot is here:
I'll also be assisting Alan in two workshops in Roma, TX as I have been for the past few years.
how would you feel? I know I would feel severely limited creatively. That's how I felt when using a video camera. True, I’ll take as much DOF as I can get when shooting macro, but everywhere else, I rather have my entire DOF range at my disposal, to use as I please.
Video with your DSLR: Why use a Digital SLR to shoot video, The Bad
Thursday, August 19th, 2010www.youtube.com/watch?v=1C6ysj7wGxQ
Yesterday I wrote about some of the advantages of shooting videos with DSLRs, which hopefully gave you an idea why they have become so popular.
There are two sides to every coin, and video on DSLRs is no different. Some major drawbacks exist as a result of where we are in the evolution of these new hybrid camera systems.
Video capable DSLRs are first and foremost designed and engineered for taking still images, with video being a secondary function. As such, you can expect manufacturers to prioritize functionality and design accordingly. Also expect any compromises that inevitably need to be made, to be made in favor of still photography.
So here are some of the areas that I feel are most challenging when shooting video with your DSLR.
Audio Recording
Audio can make or break your video, and what I mean by this is that bad audio can ruin even the most spectacular video you've ever seen. Yet, good audio usually just goes completely unnoticed. Just like we control the amount of light we let into our camera with stills, we need to control the audio levels as well. Just like we have a viewfinder to see what it is that we are shooting, we need a way to monitor the audio we are recording to make sure we are capturing the right sound.
Unfortunately, most video capable DSLRs don’t have any audio controls. They have something called AGC, or Auto Gain Control, which makes the audio sound terrible in any situation where the sound levels fluctuate.
But there are ways around this. I wrote a two part article here that shows you how to record good audio:
Recording audio with your video DSLR, Part I
Recording audio with your video DSLR, Part II
In the first part I show you some bad audio and some good audio so you can judge for yourself how important this is.
Rolling Shutter (Jello-Cam)
This is probably the biggest issue with DSLRs for which there is no solution. "Jello-Cam" is a phenomenon that is caused by the way the sensors in DSLRs capture the image: they use what is called a rolling shutter. For a good definition and examples check out this wikipedia page: http://en.wikipedia.org/wiki/Rolling_shutter
Jello-Cam really comes into play only when shooting fast moving subjects or when you are moving the camera very quickly. For me, personally, this is not a factor, but it may be for you.
No Articulated LCD Screen
Not having an articulated LCD screen can be a a pain, and sometimes quite literally a pain in the neck. In most cases I'm not holding my camera right at eye level. Usually I am holding it lower, or to the side or sometimes up above. Having a fixed LCD on the back of the camera makes it difficult to see what you are shooting in these situations. Attaching an external monitor can remedy this, but they are usually expensive, and it’s just another piece of gear to carry around.
Limited Autofocus Functionality
This is one of the things people complain the most. However most professional camera operators do not rely on autofocus, focus is almost exclusively done manually. In movie sets they have people whose SOLE responsibility is focus! For me this is not a big issue. Yes most AF systems are very good a focusing on what is in front of them, however most AF systems are not very good about reading your mind and knowing exactly what to focus on, and most often than not, the thing I want in focus is not in the middle of the frame.
No Power Zoom
This is another limitation that does have an effect on most folks. Butter smooth zooms and pulls, are often done by motorized power zooms. I don’t know of a single DSLR still lens that has a power zoom. However with practice you can get very good at zooming. I have seen people do it very very smoothly, as well if not better than the best power zooms. So this can be overcome with practice, also you can use a follow focus mechanism for this to make it a bit easier.
No Built-in ND Filters
In the first part of this article we talked about the awesome shallow depth of field that DSLRs provide us with and that this is quite possible the single biggest reason why these cameras are so revolutionary. Naturally, this is something we want to take advantage of, however in very sunny situations we may be forced to deal with smaller than desired apertures to keep our exposure in check. In very bright sunny situations, even at ISO 100 you may be forced to go as low as f16 to keep proper exposure (since you want to keep your shutter speed at around 1/60, this may be a topic for another article). So in a situation like this what do you do? You use a neutral density filter. An ND filter is nothing more than a dark piece of glass that is neutral in tonality so as not to introduce any color shifts, that simply cuts the amount of light entering the camera, thus allowing you to keep a wider aperture.
Why is this a limitation you ask? It’s not, this is something that affects every camera from the cheapest to the most expensive, BUT professional video cameras have built in ND filters in different strengths that you can turn on and off, with DSLRs you need to add ND filters in front of the lens either thru screw-in filters or thru a Matte Box.
Length of Shot limitations
Most video capable DSLRs have a limitation on how long a single shot can take, normally this limitation is time based, sometimes file sized based, or a combination of both. On the Canon cameras it’s a combination of both factors, but it effectively limits you to about 12 minute long shots. 12 minutes is a LONG time for a single shot, so for most of us this is a non issue. I personally never even come close to that, but again depending on what you are doing you might. If you are looking to record hour long interviews with people, this will certainly be an issue for you.
In Summary
Yes there are some serious issues and limitations when shooting video with these video capable DSLRs, specially when compared with dedicated video cameras. But by the same token these cameras provide capabilities and conveniences unmatched by traditional video cameras. As with everything else in life, the choice here is a matter of compromises, so you need to determine what is most important to you and make your choice.
In the end for me the benefits offered FAR FAR outweigh the limitations and inconveniences, so now I shoot video exclusively with my pair of Canon 7Ds!
-J
Follow Juan at the Digital Photo Experience.
Tags: HDDSLR, Juan Pons
Posted in Articles, commentary, video | 1 Comment »