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Buying an all-in-one camcorder can be a stroke of genius for many filmmakers, so swing over to MPB, which has a huge range in stock Whole in one
N ot every filmmaker is trying to recreate Hollywood-style cinematography, which often calls for the super-shallow depth-of-field of a large-frame camera and the pricey, fast lenses that go with it. High-end mirrorless or dedicated cinema cameras – especially when rigged up with follow-focus mechanisms, EVFs, battery solutions, monitors, gimbals and audio kit – can be complex, large, expensive and slow to get ready to shoot. For some shooters, an all-in-one camcorder offers incredible ease of use with everything built in, including a wide- ranging zoom lens. Just turn it on and shoot – and for covering live events or streaming as easily as possible, a camcorder makes a lot of sense. To save real money while you help save the planet, selecting a used one makes the most sense – if you buy from a used specialist like MPB. MPB offers lots to choose from, all tested and guaranteed to work. With camcorders not getting almost annual upgrades like many mirrorless cameras do, you’ll often find stocks of models that are a few years old but still very much current. Or you can go for a previous-generation version and save even more cash.
flip-out screen, a top handle, the ability to change exposure or zoom smoothly thanks to powered lens control, XLR audio inputs, several channels of audio recording – the list goes on. While some mirrorless cameras can overheat when they’re used for extended periods, camcorders won’t since they’re built for long shoots. They also usually accept larger batteries, while mirrorless camera batteries often run out of juice relatively quickly. Pro camcorders have XLR inputs and proper mic holders too, as well as external dials for controlling recording levels rather than using in-camera menus. For handholding, a camcorder is often better as chances are it will have a proper handgrip and viewfinder. They also have powerzooms for smooth changes in focal length, and incredible image stabilisation. For inexperienced users, or if you need to get shooting as fast as possible, most cameras offer an easy full-auto mode, but experienced videographers can still go all- manual and change everything. The lens issue For mirrorless and cinema cams, a wide variety of lenses are available at all focal lengths, prices and performance levels:
What you’ll be investing in is a camera built solely for shooting video. Most will have slightly smaller sensors, so getting a shallow depth-of-field tends to be trickier. But with LCD screens that can swivel and tilt, decent built-in mics and professional XLR inputs, as well as ergonomic features tailored to filmmaking, camcorders are capable of incredible results. If you’re looking to run and gun or cover events and newsgathering, where AF is a bonus and shallow depth-of-field a hindrance, then an all-in-one camcorder is the obvious choice. The majority of camcorders have smaller sensors than those in full-frame mirrorless or cinema cameras, so usually don’t offer the pinnacle of image quality. However, the majority can record 4K or higher in a 4:2:2 10-bit signal, which has lots more colour information than the typical 4:2:0 8-bit output from many mirrorless. This makes footage easier to tweak in post-processing and allows a filmmaker to use flat Log film profiles to maximise dynamic range. The camcorder advantage The beauty of made-for-video camcorders is that they aren’t a compromise tool. The majority have built-in ND filters, a large
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