TRENDS 2022 THEHOT LIST
1. FAREWELL TO THE DSLR
Many filmmakers today started their journey with a DSLR camera, such as the legendary EOS 5D Mark II. It may not have been the first DSLR capable of shooting video – that was a Nikon D90 in 2008, which had a cropped APS-C sensor. But the Canon was the first 35mm full-frame to offer HD video. Once a firmware upgrade removed many of its earlier limitations, it took the filmmaking world by storm. Suddenly, everyone could afford a large-sensor HD video camera capable of producing Hollywood-level results. The revolution had begun, but now the DSLR era is ending. Mirrorless cameras are superior for shooting video, as there is no flapping mirror mechanism to get in the way of the viewfinder; just a pure – albeit electronic – view of the world from the sensor, with real-time exposure simulation. The old lens mounts for DSLR cameras, some of which went back to the fifties, are too limited for the latest full-frame mirrorless wonder-cams. Larger lens mounts, with more electronic contacts for faster processing, mean quicker lenses and AF. Sony was first to abandon its DSLR-style A-mount, while the new Canon RF mount is on the latest Canon and Red cameras. Nikon has its Z mount and the Leica L-Mount is used on Leica, Sigma and Panasonic bodies. The smaller Micro Four Thirds mount is still used on Olympus and Panasonic cameras, which is fitting, as it was Panasonic that pioneered the way for video in even smaller cameras. A top exec recently revealed there will be no more flagship Canon DSLRs built, and no investment in EF lenses, which are fast becoming the ‘legacy’ option. With hybrid cameras like the Canon EOS C70, EOS R5 C, Panasonic S1H, Sony FX3 and A7S III leading the way for a new style of movie-focused small camera, it’s an exciting time.
NEWWAVE Nikon’s Z 9 is typical of the latest mirrorless pro cameras that mean an end to pro DSLRs
2. SPEEDIER PROCESSORS Do you feel the need for speed?
The best mirrorless cameras can now shoot in up to 8K, or 4K at 120p in high bit rates with full AF and AE, as well as C4K and 4K in a range of codecs. For speed merchants, 240fps is relatively commonplace in HD – even with full AF and AE working in glorious 10-bit. The new Panasonic GH6 even shoots in 300fps in HD. Some cameras allow you to record internally in ProRes, with a lot of H.264 or H.265 options, too. The tech revolution has also led to dual base ISO and dual gain sensors. Some sensors can read out in two ways – one for better images at lower ISO and one for less noise at higher settings – and you or the camera choose what’s best. Others read out at low and high ISO, and combine the footage for the best of both worlds. There has been a lot of development, and it pays to choose wisely to fit your needs.
Well, whatever you shoot, your camera does. Superfast processing – thanks to advanced electronics and clever sensor tech – leads to superior cameras. While stills photographers pixel-peep the fine detail of sensors, in filmmaking the limiting factor has been how fast the data can be read out without the camera melting. Faster read-outs mean less rolling shutter nastiness, real-time monitoring in the viewfinder and, ultimately, faster frame rates. Plus, the potential for higher resolution and an increase in codec options. That allows easier processing of Log files for maximum dynamic range – as 10-bit, 4:2:2 All- Intra files have lots more detail than the 8-bit 4:2:0 files of old. These files didn’t have much colour information anyway, so throwing some away by shooting Log wasn’t a great solution.
FAST COMPANY The new Panasonic GH6 has frame rates that older cameras just can‘t compete with
“A top exec revealed there will be nomore flagship DSLRs built, and no investment in EF lenses”
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