While the digital SLR revolution may not be what it once was, one thing remains clear – digital SLRs and mirrorless cameras still have a very strong foothold in the independent filmmaking world, and they’re not going away anytime soon. To some, this is actually quite surprising, as it was widely expected that the first wave of large sensor interchangeable lens cameras, such as the Canon C300 or Sony FS100, marked the end of an era. But as time has shown us, that’s not how things turned out at all.
SLR cameras initially became popular in filmmaking for several main reasons: price, accessibility, quality, and ease of use. Prior to the Canon 5D MK II, there were few other affordable interchangeable lens cameras on the market that offered anywhere near the same level of quality… so it’s no wonder the MK II became such a hit and paved the way for such a great camera Leveled the road.
But it’s 2017, and there are plenty of other options on the market. For just $1000, you can shoot RAW on the Blackmagic Micro Cinema Camera. Canon’s C-series line has dropped in price so much that in some cases their cameras, such as the C100, can be priced lower than some DSLRs.
So, with so many options on the cinema camera market, why do some filmmakers continue to use digital SLRs?
There are many reasons.
Some filmmakers simply prefer the usability of a camera with such a small form factor, especially those used as a one-man band. Others need to use a high-quality stills camera, so having a camera body that can do both tasks is the best option. Some DPs may require a digital SLR camera for specific purposes (crash camera, low light camera, etc.), the list goes on.
The point is, like any other type of camera, a digital SLR has its own pros and cons. While a digital SLR or mirrorless camera won’t have any more features or capabilities than a full-fledged movie camera, they do offer a number of advantages over traditional movie cameras that are hard to ignore.
Personally, the main reason I continue to use DSLRs for certain projects is their ability to remain inconspicuous. I work on a wide range of projects, some with budgets for large crews, cinema camera packages and support, but many others with little or no budget and the need to shoot in a guerrilla style. As for the latter, there is still no alternative to digital SLR cameras to date. I have taken dozens of guerilla style photos with a DSLR and have never been harassed or asked to stop by anyone. On the other hand, I’ve been turned off many times when shooting guerrilla style with large format/cine cameras and learned the hard way not to test my luck.
While I may know that shooting with the Arri Amira will look “better” in some ways than a camera like the Lumix GH5, I also know that my videos will play better if I can actually capture more of what I shoot. better. In filmmaking, sometimes you have to make compromises, and any increase in image quality a movie camera might provide is irrelevant if it gets in the way of telling the story in the best way possible.
Incidentally, what I’d like to see in the future is a true cinema camera with a single-lens camera form factor. I imagine this camera to be somewhat similar to the Blackmagic Pocket Camera, but look and function like a DSLR or mirrorless camera, allowing it to blend fully into its surroundings. If this hypothetical camera also had an ND filter and internal stabilization built in (so no matte box required), it would truly offer the best of both worlds. I pray someone, somewhere is developing something similar right now…
But back to the topic –
The real reason I’m writing this article is to answer the most common question I get by far from readers – which digital SLR camera should I buy for shooting movies?
Hearing this question over and over made me realize two things:
- DSLRs and mirrorless cameras are still very popular as I get asked about them every day
- The abundance of options on the market creates a lot of confusion for filmmakers
With this in mind, I want to outline the three most important considerations to consider when purchasing a digital SLR or mirrorless camera for filmmaking.
My purpose here is not to list specific cameras you should consider (Though I did so recently in this post)but to clarify the decision-making process at a more fundamental level.
Let’s jump in…
Sensor size and lens compatibility
For years, filmmakers thought they needed to buy a full-frame DSLR to shoot video because bigger was better when it came to sensor size. While some people still feel this way, I personally don’t think either sensor size offers the best choice. They each have advantages and disadvantages, and as a filmmaker, the key is determining which sensor size works best for your specific needs.
If you want a larger pseudo-65mm alternative, you might actually want to consider a full-frame sensor. On the other hand, if you prefer the Super 16mm look, a Micro Four Thirds camera might be your best choice. Different sensor sizes offer different looks that may or may not suit you as an artist, so take the time to really figure out which format best suits your needs and aesthetics.
If you don’t know where to start, I personally think APS-C (Super 35mm) sensors are a perfect middle ground and offer a lot of flexibility.
Of course, your camera’s sensor size will also determine your lens choice and your ability to adapt the lens to the camera. A full frame camera will give you the fewest options since you can only use full frame lenses on the camera. In contrast, a cropped sensor camera (like the Lumix GH5) will give you the option to tailor a large number of lenses to the camera.
color
Anyone who reads this blog regularly knows that color is one of the most important (if not the most important) factors when picking a camera. I’ve felt this way for a long time, but it really hit home when I bought the Sony A7S II – a camera that did everything right on paper (and in the lab) but just couldn’t deliver Color This is what I’m looking for when shooting with it on actual productions.
For this reason alone, I sold the A7S II within a few months of purchasing it, as color science is truly a make-or-break factor for me.
That’s not to say that the A7S II isn’t for some people, or more broadly that we all don’t have our own unique preferences in the aesthetics we pursue. Rather, my point is that you should really consider the color science of any camera you are considering purchasing. Check out test footage online or rent a camera for a day or two and shoot a variety of scenes. See how it handles skin tones, vibrant colors in landscape photos, or different types of light sources. You may find that the camera you like on paper doesn’t have the same soul in a real-world shooting situation.
Color affects the overall quality of an image (from a viewer’s perspective) as much as dynamic range or resolution. In fact, I think it’s probably more important, This is why I spend so much time creating color grading LUTs, and deepen my understanding of color science as it applies to camera/production work and post-production processing.
Features
One of the great things about today’s digital SLRs is that many of them have some truly groundbreaking features that are not only better than other digital SLRs, but even better than some high-end movie cameras. Image stabilization is a typical example. It’s remarkable to see the type of handheld shooting now possible without any rigging, all thanks to high-quality internal stabilization. This cannot be said for full-fledged movie cameras.
Another example is low-light capabilities. Many digital SLRs far surpass movie cameras in low-light sensitivity, so if you need to shoot a lot of footage in the dark with minimal lighting, you obviously have options.
That being said, while there are plenty of DSLRs in 2017 that offer these features (and then some), no camera can do it all. There is always some kind of compromise when you buy… A camera may have amazing dynamic range but no internal stabilization. The other may be incredible in low light, but won’t let you record a clean signal to an external recorder.
Ultimately, the key to choosing a digital SLR camera is to determine the features that are most important to you and your work, and then find a camera that delivers on those features.
This may sound like a no-brainer, but I can’t tell you how many filmmakers I know who bought the wrong camera because they were sold a camera with features they would never actually use in reality. I somewhat fell into this trap when purchasing the Sony A7S II because I was attracted by its low-light capabilities (even though I almost never shot in no-light situations) and ignored the fact that it was seriously lacking in color. ——This is more important to me personally.
So if you learn nothing else from this article, always remember that the first step in choosing the right camera is identifying your unique needs as a filmmaker. Once you know what you want, you’ll be able to filter out all the noise and zero in on a tool that suits your needs, even if it might not be the most popular camera among its peers.
With NAB right around the corner, I can only imagine we’ll have a lot more to talk about in this area soon – so stay tuned!
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