DSLRs are also equipped with on-board video features that have expanded and improved exponentially over the last few years — to the point where many videographers prefer them over their larger purpose-built video cameras. The DSLR is small, lightweight, versatile and cost effective, and they include a wealth of benefits for the videographer — but how did they morph from still cameras to primary video production cameras?
Kodak, Sony and Nikon
Back in 1975, the film-based SLR (Single Lens Reflex) camera was the crown jewel of photography, and 35mm films such as Kodachrome and Ektachrome ruled the land. Concurrently, the wizards at Kodak invented the first digital still camera, which used an extremely small 100×100 pixel CCD (Charge Coupled Device) sensor to capture images. In subsequent years, inventions by Sony and Nikon led to the first commercially available DSLRs, and the photography industry changed in an instant — much to the chagrin of Kodak themselves. To you and me, the change from film to digital meant that photographers could take hundreds of shots on assignment (rather than just a few rolls of film). They could even shoot movie clips in a low resolution video mode.
RCA and the Camcorder
Back in 1982, RCA (the Radio Corporation of America) introduced Hawkeye, the first true portable Color Camera/VCR combination. As a shoulder or tripod-mounted “camcorder,” it was extremely heavy and cumbersome, but it recorded good quality NTSC (standard definition) video and audio — and, in fact, it won RCA one of their many Emmys. For broadcast television, the camcorder instantly launched two industries: ENG (Electronic News Gathering) and EFP (Electronic Field Production) — and they’re both going strong to this day. To you and me, the camcorder meant that one person could shoot audio and video, completely self-contained.
Today, 30+ years later, the camcorder has truly evolved. The market offers hundreds of lightweight, inexpensive all-digital models, but traditionally, in order to get professional high definition video, videographers needed to buy expensive cameras — costing upwards of $50K.
Best of Both Worlds
What’s the common thread between these stories? Videographers love digital, but the stuff just doesn’t look like film, and high quality is expensive. Still photographers love their DSLRs — for their portability, interchangeable lenses, resolution and the economical price point. For all intents and purposes, the photographer is shooting film.
So, why not combine the best of both worlds — that is, improve the DSLR’s video mode, and provide a new high-definition tool at an affordable price. This would give the videographer all the benefits of the DSLR plus what they’ve really been after — the film look!
In 2008, the designers at Canon got the message, with the introduction of the Canon 5D Mark II — essentially, an HDSLR. Just like its predecessors, the groundbreaking 5D has changed the way a great deal of video is shot today, and launched yet another industry (plus a number of copycats from the major DSLR players).
A Few Specs
The Canon 5D Mark II employs a remarkable “full frame” image sensor — one that’s the same size as a 35mm film frame (36×24mm). In HD mode, the 5D shoots 1080p video, and the sensor’s total resolution is 5616×3744 pixels (21.1 megapixels). Compare that with Kodak’s original 100×100 pixel sensor. In fact, an HD image (at 1920×1080) fits nicely inside the sensor’s dimensions — thus providing the videographer with tremendous latitude in composition. Typically, a used 5D sells for between $2K and $3K.
Vincent Laforet and Reverie
To learn more about the DSLR phenomena and its advantages, I spoke with Vincent Laforet, an award-winning commercial director and photographer, and perhaps the single person responsible for the DSLR revolution. Based in Los Angeles, Laforet’s work today involves shooting projects for both commercial and corporate clients. I asked him how he first took notice of the DSLR’s capabilities.
“About three years ago, when the Canon 5D Mark II first came out, I was a photographer — and the first person ever to shoot with it,” said Laforet. “I shot a short film called Reverie, which was viewed about two million times in the first week and upwards of 10 million times ever since. It’s available for viewing these days on Vimeo, and on my own site (www.laforetvisuals.com). It was the first short film ever shot with the Canon 5D, and it helped kick start this entire movement for HDSLR video.”
Note to the reader — never discount the power of serendipity and determination. “I wasn’t meant to shoot with the 5D,” noted Laforet, “but I just happened to be in Canon’s office the day it came in — and I begged my way into getting it over the weekend.”
Clear Advantages
Today, depending on the requirements of the gig, Laforet shoots with just about every video camera on the market, including ultra high-end video cameras such as the Red Epic and the Arri Alexa. I asked Laforet about the advantages that the DSLR offers, and why they’ve been embraced so quickly in the industry.
“Certainly, cost is an advantage,” said Laforet, “because the price point allows shooters to have several cameras and lens pairings that might otherwise be cost-prohibitive. The low light performance is excellent, but the number one reason people go to these cameras is the large sensor. It’s a basically a VistaVision 35mm film-size sensor which leads to an incredibly shallow depth of field and that special film look that shooters have gravitated to for years.”
Hollywood and Sundance
DSLRs use memory chips instead of tape, and because the cost of solid-state media has dropped dramatically over the last few years, storing footage on 16GB and 32GB chips is highly cost-effective. In full HD recording mode, a continuous 12-minute HD clip on the Canon 5D uses about 4 GB of memory.
“It’s the most economical way for the average shooter to get the film look,” continued Laforet. “It makes shooting high-quality video incredibly affordable, and that’s why this type of camera has been so heavily adopted. Had it been in the $20K price range, we wouldn’t be talking about it today.
“They’re now used for high-end Hollywood productions — certainly as B cameras and, often, for primary scenes,” Laforet continues. “In fact, the film that won Sundance last year, Like Crazy, was shot on a Canon 7D. Its versatility works well in both corporate and Hollywood shoots, and it’s taken a very large and strong foothold in the market.”
Here to Stay
Laforet loves film as much as anyone, and he cut his teeth shooting and processing film. His message is clear, with a foundation in experience. “I hear people lamenting that film is disappearing and that there’s a resistance to learning these new digital formats,” said Laforet. “I would suggest that there are many benefits that these digital formats can offer, and while they may not have film’s latitude, if they’re shot correctly, you can achieve incredible results. Whether it’s a Red Epic, an Alexa or the Canon 5D Mark II, the videographer has to jump in and learn the advantages of all these formats — to get the best results from these cameras.”
With all of the DSLR’s advantages, including high-resolution, portability, depth of field, interchangeable lenses, low light performance and pricing, there are several distinct disadvantages, of which the videographer should clearly be aware.
We’ll discuss those in my next column.
