We all know the important place that DSLRs now have in the world of video production. The versatility of these cameras, the ability to alternate between still photography and video at a shoot, the interchangeable lenses, large processors, and more, have all meant that DSLRs are an attractive option for shooting video. At Videomaker we’ve written about a large number of these cameras and we continue to be impressed. But there has also always been a number of significant and important distinctions between prosumer camcorders and DSLRs and at the top of that list is… audio. Without an XLR input for recording sound, DLSRs depend on add-on accessories and/or separate audio recorders which then can, of course, complicate the work in post.

That’s where companies like Azden step into the picture.

Azden has just announced their professional low noise audio mixer designed specifically for DSLR cameras, the FMX-DSLR. We at Videomaker are looking forward to taking a closer look at this audio mixer and pairing it with the DSLR cameras we shoot with here. For now we can report that this small device can be mounted directly between the tripod and camera and is powered by four “AA” batteries. The FMX-DSLR includes a switchable AGC circuit for noiseless operation, 2 XLR microphone inputs with individual level controls and switchable phantom power, stereo mini jack microphone input, mini jack line level input, stereo mini plug microphone output and headphone output with level control. LED peak level indicators, input return function (RTN) to monitor camera audio and a power switch with power on/low battery LED. Azden indicates that this device has an MSRP of $400.

As audio solutions like the FMX-DSLR continue to come along, they will certainly work to further blur the line between cameras best suited for still shooting and those able to straddle the line between the photographer and videographer.

Nikon introduces the D800 one exceptional piece of equipment for both photographers and videographers (available in late March, MSRP $3000.) It is evidence of Nikon continuing the campaign for further integrate video capabilities in their DSLRs. Specifics like full HD video resolution at 1080 and the ability to shoot in 30 and 24p as well as 720 at 60 and 30p combine with dedication to audio for solid video producing.

At the core of this 36MP monster is an FX-format CMOS sensor and a EXPEED 3 image processor. Then at the front of the D800 is your NIKKOR FX-lens with the option of zooming in with a DX-lens. Follow the image from the lens, to the 35mm image sensor and up to the viewfinder that has 100 percent frame coverage and you’ll be capturing images with 7360×4912 resolution.

With good audio, comes great video – a 20-step mic volume adjustment with a 30-step headphone adjustment for a dedicated headphone jack will help you monitor audio well.

When it comes to ISO range, the D800 is outstanding with 100-6400 expandable to 500-25,600 and all with low noise images. The EXPEED 3 image processor keeps color well, but having a white balance that recognizes artificial and natural light is even better.

The D800 allows for lots of manual control including live view aperture adjustment either on its 921,000-dot LCD or on an attached monitor. If you want this monitor to be streaming, the displays can be removed, but either way, the camera can provide an uncompressed HDMI output with 4:2:2. Sticking with the LCD is no problem either since it is 3.2-inches with auto brightness control and reinforced glass.

Recording on the D800 may be best with a direct capture device, but it will format video with the H.264/MPEG-4 AVC codec. Clips can be recorded up to 20 min. at the highest quality setting, but going from sleep to shoot takes .12 seconds. And the shutter can be set to activate audio recording. With a 51-point AF system, operators may get spoiled with such response time, because with any shoot you don’t want .12 seconds of prep time, but we know from experience that waiting on a camera is never fun.

Now for the matter of retrieving footage you’ve got options on the D800 to use USB 3.0, CF and SD cards. Start organizing early by recording stills to one card and video to another, and for the highest speed use UDMA-7 or SDXC/UHS-1 cards.

So for about $3,000 the D800 provides approximately 200,000 shutter cycles, all encased in a magnesium alloy that is dust, dirt and moisture resistant. If you are interested in even higher resolution stills you may forgo the low pass filter for $300 and wait another few weeks for the D800E (available mid April, MSRP $3,300.)

We live in an age were most every family in America owns a video camera and editing software, even if they never sought out either. Anyone with an internet connection can put their video online where it can be seen by everyone on the planet. The web has given anyone who wants it, access to far more information than any film school alone can provide. The world of video production has entered a golden age. There are no more excuses not to pursue whatever goals you hope to achieve with video.

In the late ’90s, when the average middle-class American could purchase video editing software to run on the home computer they already owned, it was clear that we were entering a new era of video production. Consumer camcorders were already common, but with non-linear editors entering people’s homes, so too, was a quality of production reserved only for professionals or those willing to spend thousands on uni-tasking equipment.

Consumer video production stayed at that point for about 10 years, as individuals shot SD footage on their home camcorders and edited on their PC or Mac.  In the last few years, however, we’ve seen a surge forward in the process of consumer level video production. It’s a result of computers and cameras getting cheaper, and moving into every electronic device in the home.

When The Blair Witch Project came out, people were amazed that someone could shoot an entire film that would be released world wide, on a simple consumer camcorder. Today, an iPhone 4S could easily take better quality video and cost significantly less. The only reason, I believe, that we haven’t seen a nationally released film shot entirely on a smartphone yet is simply because an upgrade in picture quality and functionality can be purchased for under a thousand dollars.

It’s not just the cost of quality cameras and accessibility of editing software that is bringing good looking video to the masses, it’s also the size. It turns out that a fluid-head tripod capable of supporting a 3lb camcorder doesn’t cost a lot of money. The same can be said about slider dollies, jibs, and even stabilizers.

Of course some equipment is as pricey as it’s ever been. Lights and microphones, for example, don’t seem to be getting any cheaper, but we live in the age of the internet. It’s much easier to learn from others about how to build your own lighting rig, or even record studio quality ADR straight into your laptop or iPad.

Cameras and editing systems are getting cheaper by the day, and the free flow of information on the internet is making it easier than ever to break into video production. As a result, Hollywood is losing its hold on the film industry, which is a good thing for both consumers and producers of great video.

Shooting and working in 4K is nothing new to professional film makers and compositors, but with the announcement of the JVC GY-HMQ10 being priced at under $5,000, 4K is finally within reach of prosumer and hobbyist videographers. However, most TVs and computer monitors will still max out at 1080p, so what’s the point? Personally, I don’t see 4096 × 3112 pixel TVs entering the average American’s living room any time soon, since if you’re sitting ten feet from the screen, the TV will have to be 80 inches before you’ll be able to see the difference between 4k and 1080p.

Even if your final output is still 1920×1080, you’re still going to get quite a bit of use out of 4k footage once you’re in post production. 4K footage is a whopping four times as many pixels as 1080p, and if you’ve ever had the experience of editing HD footage down to a final SD output, you know those extra pixels are a glorious luxury to have. It’s not uncommon to have a shot you’d like to crop and re-frame in post, and if you have four times the pixels, the amount of flexibility you have is enormous.

Additionally, shooting high resolution for green screen keying will make your keying process much simpler. With four times the data, your keying software should have an easier time differentiating the green pixels you want to key from the edges of your subject. Similarly, if you plan on doing any motion tracking, a more detailed image should help your tracker to stay on the points you’ve defined.

Now for the bad news. Much higher resolution images means much bigger files. The JVC GY-HMQ10 shoots to a variable bit rate h.264 file, which should be manageable, but if you’re editing in Final Cut Pro and have to trans-code to ProRes, file sizes are going to be enormous. If storage is a problem, plan on shooting in 4k selectively, and sticking to 1080p for the bulk of your footage.

It’s worth noting that with files being compressed to h.264, much of the color data will be lost. We’re excited to get our hands on some GY-HMQ10 footage to see exactly what we can do with it.

Here’s another reason to put a smartphone on next year’s Christmas list. JVC just announced an update to their Everio lineup with contains seven new models with 1080p recording that can be controlled by a smartphone via WiFi at CES. It wasn’t too long ago that cameras were used to being controlled by an included remote control (that would invariably get lost), but now JVC is hoping you’ll start using their camera’s 802.11 b/g/n transmitter to wirelessly transfer video and stills to a smartphone for sharing to the internet. The app for your phone will also include a way to monitor the video feed from your camcorder wirelessly along with controlling the geotagging of video and starting and stopping the recording.

This will be a welcome update to JVC’s camcorders but as everyone knows, the real magic comes in how good the image quality is. JVC has included the ability to capture at 1080p in UXP mode witha  24 Mbps sampling rate. The camera also comes with an incredibly good f1.2 lens and high speed and low speed recording for timelapses and slow motion footage.

The entire camcorder line will be available immediately and will range in price from $229.95 to $899.95.

At their CES 2012 press event, Sony released their newest refresh to the Handycam camcorder lineup. Specifically, they debuted the HDR-PJ760V and HDR-CX760V, but I’m sure you don’t care much about the model numbers. What you probably care about most is what these beasts can do. The camcorders can capture full HD 24p and 60p video along with an astounding 24.1 megapixel still image. They’re also touting their newest “Balanced Optical Steadyshot (I think I see a theme here too)” which is an image stabilizer that controls the entire optical path, including the image sensor, as one floating unit. They claim that this feature can make the camera 13 times more stable than its predecessor. Welcome news if you’ve ever tried to keep a device as small as their Handycam steady in your hands.

In the new lineup, they’ve also seen fit to include a new wide-angle (26.0mm) Carl Zeiss lens, tilting electronic View Finder, and a 17X digital zoom which we hope you never have to use.

Sony has also kept their same Handycam camcorders with built-in projectors from last year by updating the image to be twice as bright as it previously was. They’ve also kept the EXMOR R CMOS image sensor and have included some professional features such as manual control of Iris/Shutter/Exposure/White Balance, an Expanded Focus for making sure the image isn’t slightly blurry, and Zebra and Peaking settings. Not bad for a camcorder at this size and price.

We’re not done yet. Sony also updated last year’s first Double Full HD 3D camcorder lineup by adding the HDR-TD20V. If you recall, we reviewed its predecessor, the TD10 this last year in Videomaker magazine to some acclaim. Now, the new camcorder is actually 2/3rds the size of the TD10, weighing in at only 1.02 pounds. Sony also included the ability to geotag with it’s built-in GPS receiver for those who want to remember right where they were when each shot was taken.

Each of Sony’s Handycam camcorders can shoot 1920×1080 resolutions at up to 24 Mbps which should make for some high-quality HD content when editing. They also allow for Dual Recording of video and still images (though most of them do these days), and have some of the best image stabilization techniques in the business. All these factors combined make the new lineup from Sony very exciting. We’ll give you more details about how each of these camcorders fare in future reviews!