SHOP SECOND-HAND MOVIE MATTERS
THE DSLR CHOICE
CANON EOS
5D MARK II Yes, it’s a decade old but the harsh reality is that DSLRs haven’t hugely upped their game as filmmaking tools since. You still need some sort of loupe or viewer and perhaps a rig; audio is still an issue; the ergonomics haven’t changed; and you need some ND filters. That’s the same with the latest DSLRs as well as the Mark II. So if you want to make high-quality cinematic- feeling films for very little money, the camera that kick-started the whole large- sensor movement is an incredible buy. From around £400/$500 and upwards for a decent one, you have a fantastic workhorse that has made films good enough for TV and cinema. It records in Full HD, which is more than enough for the majority of users. And there are loads of cheap lenses on the market so you can build a full kit for not a lot of money.
SONYA7S When manufacturers of mirrorless cameras realised their products were far more suitable for use as video tools, it led to a range of cameras tailored more towards filmmakers. The Sony A7S was one of the first video-specific mirrorless cameras, boasting a full-frame sensor that’s amazing at low-light capture thanks to a 12.2-megapixel sensor with ISO as high as 409,600. At launch it was the world’s first full-frame sensor capable of full pixel readout on 4K video. It’s now been superseded by the Mark II which records 4K internally, but if you do need 4K then link it up to an external monitor/recorder and the original version still works incrediblywell. It records Full HD internally, which is what the majority of films are viewed in, especially on YouTube. For around £900/$1200, you’ll get a very good A7S that will last for a long time. MIRRORLESS MARVELS
PANASONIC GH4 For around £600 or $800, you can pick up a Panasonic GH4 which may only have a Micro Four Thirds 16-megapixel sensor but still packs a big punch when it comes to making movies. It shoots 4K internally in 8-bit or will record 4:2:2 10-bit to an external recorder for even more colour information. With its 200Mbps recording, it meets broadcast expectations. The GH4 was where Panasonic got really serious about its mirrorless flagship cameras being used as video tools, including offering an external module that adds XLR inputs and 3G-SDI connectors. And you can set focus peaking and zebras along with shutter angle, showing its credentials as a serious bit of moviemaking kit. It was the first Micro Four Thirds stills camera to offer 4K recording. It might not boast the anti-aliasing filter and 180fps high-speed video of its replacement, the GH5, but its weather sealed body and articulated screen are more than worthy of a continued career in filmmaking.
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PRO MOVIEMAKER SUMMER 2018
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