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Time to think big!
Why transitioning from a mirrorless or DSLR to a real video camera could be the ideal next upgrade
C ompact cameras like DSLRs and mirrorless are hugely popular for shooting video. Their great performance, small form factor and low price point are very tempting. But these are predominantly designed for stills, so are full of compromises when it comes to hitting the red record button for movies. That’s why opting for a dedicated video camera may be a smart decision for your business. You only have to pick up a mirrorless to understand its drawbacks for filmmaking, as the ergonomics do not lend themselves to shooting moving images. They are, more often than not, much smaller than dedicated video cameras, but can be a
“Sensors designed specifically for video are built to capturemotion rather than still frames”
cameras, too. Especially if you factor in the cost of rigs, follow-focus systems, external monitors and audio adapters. But, obviously, these smaller cameras are easier to carry, more inconspicuous than larger systems and work well on gimbals. They also regularly have a good EVF and great autofocus, too – although that’s something the newer models are adopting. Let’s take a look at some of the reasons why you should consider a purpose-built video camera. Physical design and usability The way a product looks is important. A large video camera gives a client the impression that it’s more professional than a mirrorless. The overall ergonomics are also far better for shooting video. This can be from adding grips for better control, improved weight distribution, more configurable monitor positioning, shoulder-mounting possibilities or top handles – which most video cameras come with. These are much easier to rig than stills cameras, because they don’t require as many accessories. With fewer parts bolted-on that could go wrong, they are a more reliable option. It’s pretty standard
pain to get working nicely on the shoulder without bolt-on accessories. Most DSLR and mirrorless cameras lack video-specific buttons, which makes changing settings while shooting more cumbersome. The menus are designed primarily for stills, meaning navigation to video settings can be complex – and tools limited. Virtually all mirrorless cameras have a reduced number of inputs and outputs. They simply aren’t designed to be part of a professional filmmaker’s workflow. Whereas, video-centric cameras have HDMI or SDI, timecode or BNC ports, as well as power outputs and other connectivity options. The batteries in most mirrorless cameras are much smaller and don’t offer the option to power external accessories via a D-Tap output. Recording limits are a huge drawback of mirrorless and DSLR, as many still have a 30-minute maximum, or can quickly overheat and shut down. For live events or interviews, that’s disastrous. There is also a reduced choice of video codecs, and many offer lower bit rates. High-end mirrorless cameras can be more expensive than dedicated video
SLIMLINE TONIC The Canon EOS C70 shows a cinema camera doesn’t have to be large and box-like
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