Archive for the ‘DSLR’ Category

Hollywood Shows What Can Be Done With a Prosumer DSLR

by Mike Wilhelm | February 27th, 2012

On February 24th, major Hollywood motion picture, Act of Valor, was released to theaters nation wide.  While this isn’t earth shattering news on its own, it is worth noting that the film was shot on the Canon 5D Mark II DSLR. Here is a camera that anyone can buy at their neighborhood electronics store being used on a blockbuster film. I’ve said it before, and I’ll say it again: if you have any desire to make a movie, you have no excuse not to do it now!

“Nothing is as small and nimble as our Canon EOS 5D Mark II camera packages,” said Act of Valor’s director of photography. “Never have I been so excited by the creative possibilities a camera offers cinematographers.”

Now, obviously, this doesn’t mean that Act of Valor’s Hollywood level production budget is attainable for everyone, as the cost of lenses alone can dwarf the price of the DSLR body, but it does indicate the crumbling of one of filmmaking’s most daunting barriers of entry.

Act of Valor isn’t the first national release to use the camera. The 5D was also used to shoot the opening title sequence for the 35th season of Saturday Night Live, as well as an episode of House titled “Help Me” which first aired in 2010 on Fox.

The continued popularity of prosumer DSLRs for video have caused the market to explode with new products targeted at DSLR shooters. Canon’s 7D has become quite popular as of late, and Nikon’s D800 and D4 appear promising.

“More than anything, what I love about the Canon 5D Mark II is that it’s part of a global revolution,” Hurlbut continued “The 5D Mark II is causing a paradigm shift in the production industry because it provides film-like quality combined with lightweight operation and amazing mobility. It’s also affordable, so it’s giving a lot of people a voice who’ve never had one before. I think the style of filmmaking that’s going to come out of the use of the 5D Mark II will be a whole, fresh new style that hasn’t even been named yet.”

While I would argue that the same could be said for many DSLRs currently on the market, it is true the accessibility of cinema ready cameras is changing the face of filmmaking.

You can read the entire press release from Canon about Act of Valor’s use of the 5D Mark II on Canon’s web site.

DSLRs’ Audio Limitations: Azden’s Newest Mixer May Be the Ticket

by Richard Ober | February 8th, 2012

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.

Enter the D800 – Nikon DSLR

by Jackson Wong | February 7th, 2012

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.)

Videomaker Best of CES 2012 Awards Announced

by Daniel Bruns | January 12th, 2012

CES 2012 is nearly over and if you’re like us, you’ve probably passed the point of information overload even before the annual tech show began. Even so, we’ve decided to help you sort things out by showing you our picks for this year’s Videomaker Best of CES awards. Videomaker’s Best of CES awards were created to help you find products that were especially innovative, affordable, dependable, easy-to-use, and most of all products which empower each of you to make better video. So we’ve scoured the show floor, trekked many miles, and ruined more than one good pair of shoes to find out once and for all which CES products would do just that.

Best of Show: Nikon’s D4 DSLR -

It’s no surprise that our biggest award of the show went to Nikon’s newest DSLR, the D4. With features like an ISO range of 50 to 204,800, 1080p video with an uncompressed HDMI output, and an FX-format (36mm x 23.9mm) sensor, this DSLR has many features that videographers have been wanting in a DSLR for years. An interesting new feature is the camera’s ability to use a new 2.7x Crop mode to zoom into an image on a sensor without losing any of the 1920×1080 quality of the picture. This means that you can easily turn a 35mm lens into a virtual telephoto lens instead. The camera also has on screen audio indicators and a 20 step audio adjustment making this a real force to contend with in the DSLR world.

Best Lighting: Sunpak’s LED Video Lights -

We’ve seen lights like these before but never in such quantities and interesting designs. At CES 2012, Sunpak unveiled 5 LED products ranging from their DSLR67 ring light (that attaches directly to a DSLR lens) all the way up to their LED 96 which sports 96 high-powered LED’s. Best of all, almost all of their lineup runs off of easy-to-find AA batteries and can be attached on any camera’s shoe mount.

Best Microphone: Blue’s Microphone’s Spark Digital -

We’ve been impressed with Blue Microphone’s products ever since we laid eyes (or ears?) on their surround sound microphone the Snowball, but they’ve managed to impress us again with their newest offering at CES, the Spark Digital. The Spark Digital is a cardioid, solid-state condenser microphone that provides two different usage modes at the touch of a button: the Normal mode which is supposed to provide increased low frequency for those times when you need to sound like Don LaFontaine, and a Focus mode which changes the microphone’s frequency response in order to pick up more clarity and detail. The newest part about the Spark Digital is that it offers both USB and iPad connectivity. Better yet, Blue Microphone even thought to include a custom shockmount and pop filter for the microphone so that nothing will stand in the way of capturing the kind of audio you need.

Best Software: Corel’s VideoStudio Pro X4 Editing Software -

When we reviewed Corel’s VideoStudio Pro X4 back in October, we loved how easy it was to bring a project from start to finish. At CES 2012, our minds still haven’t changed. We love how VideoStudio Pro X4 offers great support for beginners by offering the Corel Guide – a useful repository for video training, customer support, and user forums. We also like how the software also offers dual screen support (something most introductory editing software leaves to the pros) and an easy stop motion video creator making VideoStudio Pro X4 a great choice for the Best Software at this year’s CES.

Best Computer: Lenovo’s IdeaPad Y580 Notebook -

Though NAB is where the real workhorses come out to play, we really enjoyed the power and affordability of Lenovo’s IdeaPad Y580. It has JBL speakers, an optional Blu-Ray burner and Intel’s Wireless Display technology. You can also get up to 8 GB of RAM along with a Core i7 processor in this beast to boot. As for the display, the Y580 sports a 1920x1080p  screen and has a 2GB GTX66M card to drive it. Not bad for a laptop that starts at $899.

Best Storage Device: Lacie’s 2big RAID Drive with Thunderbolt -

LaCie never fails to do something big in the world of hard drives and this year was yet again no exception. LaCie introduced a new version of their popular 2big that now has the power of Thunderbolt which gives the drive speeds up to 311 MB/s. The 2big also conveniently adds RAID technology to protect all of your valuable footage and has hot-swappable drives so there’s never any need to reboot the system in order to upgrade or repair the drive.

Best Support: iOmount’s iOstand and iOmini -

iOmount is a brand new company at CES, but that doesn’t mean it’s any less eligible for the Best of CES award. No, if you have a product as innovative as they do, there’s no way we would be able to keep from talking about it. iOmount stood out for its innovative mounting idea for iPad and iPod-like devices. Their mounting device allows a free and unobstructed rotation of any device using a ferro-magnetic sphere and a specially engineered magnetic carrier. In laymen’s terms, this means you can mount your iPad easily to the stand just by placing snapping it into place and then rotate your iPad without the need for holsters or locks. In addition, iOmount plans on releasing an articulating arm so that you can have your iPad or iPhone over your bed while you read a book or text message hands-free.

Best Bag: Tiffen’s Domke RuggedWear Camera Bags -

Tiffen has been a leader in optical filters for years but camera bags? You bet. At this year’s CES, Tiffen released a new line of Domke RuggedWear camera bags meant for almost any situation you might find yourself in. Each Domke bag is made of weather-tough and durable cotton canvas along with a strap made of durable cotton webbing and a steel snap hook so they’re built to last. They were also designed from the ground up to be easy to carry and easy to clean which we always love to hear.

Best Accessory: GoPro’s WiFi BacPac -

Though GoPro announced the WiFi BacPac earlier in the year, Videomaker had yet to see what this unit could really do – until now. GoPro’s WiFi BacPac gives GoPro’s popular Hero and Hero2 cameras the ability to transmit live video streams to a smart device such a a tablet, smartphone, or computer while at the same time being able to control a bevy of video options as well. As a result of using WiFi, this remote can travel over an incredibly long distance without losing signal – something that any videographer capturing a sporting event will love.

Best Camcorder: JVC’s GY-HMQ10 4K Camcorder -

JVC has seemed to hit the ground running this year by announcing a new 4K camcorder at CES 2012 and we were impressed. The camcorder can record at a resolution of 3,840 x 2,160 pixels using its Falconbird processor and 1/2 inch sensor, can record to SD cards, and has 2 phantom powered XLR ports. Though it has a fixed lens for now, we’ve heard rumors of an interchangeable lens concept coming soon – but that’s our little secret.

Spotlight Award: Panasonic’s 4K x 2K monitor concept -

This is a product that we’ve been waiting for a long time to get: a 20 inch field monitor that packs a 4K x 2K resolution. That means shooters everywhere will be able to see the full glory of their 4K footage from cameras like RED’s Epic or JVC’s newest Gy-HMQ10. Though there’s no price information on this big boy yet, we’re excited about it’s potential.

Spotlight Award: Sony’s Handycam HDR-PJ760V Camcorder/Projector -

It’s funny how close camcorder companies are to blurring the line between professional and consumer camcorders. Sony has done just that by releasing their newest camcorder and projector the HDR-PJ760V. The camcorder comes with 96 GB of internal storage space, an incredible 24.5 MP still image capture option, image stabilization, and of all things a high contrast projector said to be twice as bright as Sony’s offering last year. This means not only will you be able to capture your family’s memories to share with them when they get older, you can also easily show them what you got anywhere you are.

Spotlight Award: Buffalo’s AirStation WZR-1750H Router -

Buffalo’s always been one of the first companies to embrace new technology and industry trends so it came as no surprise that they released an 802.11ac dual band router at CES 2012. We were specifically impressed by the AirStation’s wireless speed which Buffalo claimed could hit 1300 Mbps, approximately three times faster than 802.11n. What’s amazing is that just a few short years ago, standard Ethernet cable used to have a hard time getting speeds up to 1300 Mbps and now wireless routers are doing it in spades. Not to be left out, the router will also have a 2.4 GHz 3×3 802.11n radio inside so that it can be backward compatible with the 802.11a/b/g/and n standards.

Spotlight Award: Tiffen DFX v3

If you’ve ever had to try to fix an image after it’s already been edited into your video project, you know how painstaking it can be. Tiffen has come along to help you make that better with it’s DFX video and editing effects suite. Tiffen DFX is a plug-in filter that in many ways mimics the screw-on glass lens filters that professional photographers use, but it’s like having a filter on steroids.

Version 3 has added even more filters for optical effects along with interface improvements and host support. The digital filters are made to simulate Tiffen’s glass filters – and you don’t have to try to find one that fits your lens… nor are you stuck with the effect that a screw-on lens might produce.  The effects are easy to apply, fun to use, and can take your videos from good to outstanding in a very professional way, which is why we gave Tiffen the Videomaker Spotlight Award for CES 2012.  Read more about the Tiffen “Videomaker Spotlight” award.

Spotlight Award: Satarii’s Swivl

Asking someone to snap a photo can be a stretch, asking them to do camera movements is crazy unless you plan to hire a camera person. The Swivl is your answer in such times. By using a marker, the Swivl keeps you or your subject in a user-defined frame and has the capacity to record audio via an iPhone app. The 360 degrees panning capability is paired with a 25 degree vertical axis to capture a lot of action. The base and marker take AA and AAA batteries respectively, which provide for about four or ten hours of recording depending on whether you opted for the wall charger or the battery life of your pocket camera.

The Swivl is prepped to ship during the first quarter of 2012 and has been an innovative project for us to see from prototype to product, so we are glad to give it a Spotlight Award for the International CES 2012.


Canon Announces New EOS-1D X with Full Frame Sensor and Faster Processing

by Daniel Bruns | October 18th, 2011

Canon just broke the news this morning on their newest camera to grace their EOS lineup: the Canon EOS-1D X. This is their first high-end camera designed with both video and stills in mind from the start and it’s a doozy. In fact Canon is calling it a “completely revolutionized EOS-1D series model…. a high-speed multimedia juggernaut replacing both the EOS-1Ds Mark III and EOS-1D Mark IV models.”

To call this camera a replacement of their old models means that this new camera has a lot to live up to. However, they’ve definitely seem to have accomplished that. The new model has an 18 megapixel sensor – smaller than the 1D Mark IV which this replaces – but with one big caveat: each pixel is 1.25 microns larger. This means that the camera can not only gather more light on each pixel, it can also do so without recording as much light bleed and noise.

On the processing side, Canon also saw fit to include 3 processors instead of the usual 2. It uses a dual DIGIC 5+ processor for image processing and a single DIGIC 4 processor just to achieve accurate auto exposure and focus. The new DIGIC 5+ technology means that the sensors now have almost 17 times more processing speed than their predecessor making it possible for the camera to process functions like chromatic abberation reduction, 12 fps continuous shooting, and HDR  in real-time. Also due to the addition of the DIGIC 4 processor, the camera now includes a 100,000-pixel RGB Metering Sensor that works together with the 1D’s new EOS intelligent tracking and face recognition to give accurate focus tracking for live event video shooting. This means it may now finally be possible to keep your hands firmly on the tripod while shooting a wedding and not on the focus ring which can lead to shake.

Read the rest of this entry »

Does Moore’s Law Apply to Video?

by Richard Ober | September 29th, 2011

For many of you, this will be a familiar story: In 1965 Gordon Moore published a paper in which he observed that the number of transistors that can be packed into an integrated circuit had been doubling every two years since the invention of the integrated circuit in 1958. He predicted that this phenomenon would continue well into the twenty-first century, which, of course, it has. Moore was a founder of Intel and his prescient prediction about the rate of technological growth, at least in this area of transistors, chips, and digital technology, has given us Moore’s Law. Moore’s Law has acted to (mostly informally) codify this notion of the speed of change in nearly all technology industries from makers of computer processors to the the manufacturers of digital camera sensors. (For more on image sensors, see Videomaker Publisher Matt York’s Viewfinder article from this past May.)

Is it any wonder we’re working harder than ever to keep up with the changes in the tools we use to make phone calls, find answers to everyday questions, double-check our kids’ homework, or make video? And yet, the payoff for staying current with the technology we surround ourselves with is also dramatic as we can pack more and more capabilities into smaller and smaller devices and these devices are found in nearly every remote corner of the world. Many argue that this exponential increase in the pace of technological development can be a profound democratizing influence. Perhaps the Arab Spring, where young revolutionaries in Egypt, Yemen, Lybia, and many others used cell phone cameras and pocket camcorders to share their plight, their efforts, their tragic setbacks and their inspiring triumphs with each other and with the rest of the world, owes some of it’s success to the impacts of Gordon Moore’s law? Could these changes in the world’s political landscape have been as well documented and fervently fueled with technology from ten years ago? Perhaps. But perhaps not.

Of course Moore’s Law doesn’t explicitly predict the availability of better and better cameras in smaller and smaller packages, but it certainly does correlate to the sensors in those cameras and the progression from 1080p to Quad Full High Definition (4K) and eventually to Ultra High Definition (8K) and to the higher definition standards coming beyond that. And it wasn’t that long ago that HDLRs sprung onto the scene and their use in the video industry is growing at rates that surely would not surprise Mr. Moore.

Where is this heading? That’s our job at Videomaker: keeping readers informed of changes in the industry and helping videographers all over the world to understand options, learn to make the best possible use of the tools available, and anticipate the future of video. There is much debate about the trajectory of Moore’s Law. At one point Gordon Moore suggested that the microprocessor size and speed zenith could come some time before 2020, possibly as early as 2013. Others suggest that new materials and new techniques in manipulating those materials could extend Moore’s Law for a number of decades to come.

Stay tuned. We know we will.

For even more on image sensors and image processors, see the Videomaker story “CMOS vs. CCD”.

Sony Announces the New Alpha SLT-A35 HDSLR

by Julie Babcock | June 9th, 2011

Sony recently added a new HDSLR camera to their Alpha line, the SLT-A35. In addition to featuring Translucent Mirror Technology, which allows accurate continuous autofocus, the Alpha 35 builds on the features of its predecessors, the A33 and A55.

Touting a maximum sensitivity of ISO 12800 and an Exmor APS HD CMOS sensor with a resolution of 16.2 megapixels, the A35 makes it possible to capture detailed, low-noise video in low light situations. Advanced Quick AF Live View allows the camera to “continuously display a real-time output from the main image sensor during still or video shooting.”

Additional features include:

  • BIONZ processor
  • AVCHD format
  • 3-inch Xtra Fine LCD screen, featuring Sony’s TruBlack technology
  • High-resolution viewfinder with full 100% field coverage
  • Accepts SD/SDHC/SDXC media as well as Memory Stick PRO Duo/Memory Stick Pro-HG Duo
  • Compatible with 32 A-mount interchangeable lenses, including six Carl Zeiss lenses

Sony’s A35 will be available in August with an 18-55mm kit zoom lens for about $700. It will also be offered as a body-only (without kit lens) for about $600.

*Interested in Sony’s Alpha line? Check out our review of the Sony A33.

Nikon Releases D5100 HDSLR With Autofocus, Articulating Screen

by Daniel Bruns | April 5th, 2011

NAB is just around the corner and companies are gearing up to announce some of their most innovative products of the year. Of course, some companies get a bit itchy and can’t wait to share what’s in store. Such is the case with Nikon. Nikon got an early start by announcing their exciting new HDSLR, the D5100. The camera, which costs only $899.95 with an 18-55mm VR lens, can shoot in full 1080p HD at 30 and 24 frames per second, in 720p at 30 and 24 fps (sadly, no 60fps option), and in 640×424 at 24 fps. It also records to the ever popular H.264/MPEG-4 file format and has a 16.2 megapixel 23.6 x 15.6mm sensor for low noise and shallow depth of field recording. The camera has a slot for recording on SD, SDHC, or SDXC memory cards – which have become increasingly popular with cameras and camcorders alike due to their fast file transfers and inexpensive price.

One of the most exciting features of their new camera is the 3 inch articulating screen. With it, both high and low angle shots should be much easier to take and with the ability to rotate 180 degrees, the screen has a natural protection when placed up against the back of the camera. This puts Nikon in the same camp as Canon’s 60D and Sony’s Alpha, a trend which will hopefully only continue.  Much like the Sony Alpha cameras, the Nikon D5100 also has the ability to autofocus during shooting, making camera operation simple for those doing quick, run and gun style shots.

At the same time, Nikon has also announced their new Nikon ME-1 stereo microphone. This microphone comes with a low-cut filter to reduce wind noise and has a cable stop to hold the 3.5mm stereo mini-pin in place for noise reduction. This microphone comes as a response to many users complaints about loud autofocus and handling noise using previous cameras internal microphones.  The condenser microphone will be unidirectional, has a 60 dB signal-to-noise ratio, and is supplied power by the camera.

With the release of this camera, Nikon seems to be taking even bigger strides towards making a camera that fits almost every amateur and prosumer videographer’s needs. Though it still has a way to go, the improvements to their latest camera is encouraging. Here’s to hoping that the next release to the D3S has 1080p recording at 60 fps, a 50 Mb/s or 28 Mb/s AVCHD recording format, an XLR input, manual audio controls, and dual SD continuous shooting option. Of course that may never happen unless Nikon releases a camcorder but it never hurt to be optimistic!

Sony Atsugi Technology Center

by Matt York | February 28th, 2011

Spent the day at Sony Atsugi Technology Center. Saw 3 incredible things.

  1. Digital video projectors using the 4k format for motion picture theaters.
  2. Camcorder  which records in 4k; now you can make motion pictures.
  3. NXCAM Super 35mm CAM for under $7,000. This seems like an HDSLR killer.

More soon.

ikan Announces the FG Follow Focus Cine-Kit

by Julie Babcock | February 15th, 2011

For those of you looking to take control of your camera’s focus, ikan announced their FG Follow Focus Cine-Kit today. The FG Follow Focus is driven by a 2” diameter control wheel, features low backlash and is compatible with standard film pitch gearing of .8 MOD supported by a 2.3” diameter focus gear. In addition to its machined aluminum construction, light weight design, and beveled dry erase marking disk, the FG Follow Focus also features a horizontal adjustment allowing you to accommodate a wide range of DSLR lens diameters.

The kit includes a 17″ FG Follow Focus Whip, which provides leverage over distance and smoother focus pulls; a 2.3″ FG Follow Focus Crank Knob for rapid focus and accurate control; a pair of 2.5″ to 4.25″ diameter adjustable zip lens gears and two no scuff, non-slip lens gear liners that ensure your DSLR lens is protected and ready to pull focus.

MSRP: $449

FG Follow Focus Cine-Kit Includes:

  • FG Follow Focus
  • 17″ FG Follow Focus Whip
  • 2.3″ FG Follow Focus Crank Knob
  • 2.5″ to 4.25″ Diameter Adjustable Zip Lens Gears (2)
  • No scuff, Non-slip Lens Gear Liners (2)
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