what is the limitation of a DSLR video

[hiderocketdive]

Hi,
I believe DSLR sensors are generally much bigger than 1/3 inch, even if we compare it with a APS-C sensor or a micro 4/3. So I believe we need less light for the same output luminance for DSLR vs 1/3 sensors.

But i do agree on having a good monitor for the focus puller. It's quite a bitch pulling on Canon still lenses. Also personally, I don't particularly like the breathing on some of the zooms. It draws too much attention to the focus pull...

It's a fact that quite a lot of broadcast works are done on these DSLR these days, whether we think they are suited or not. It's a matter of whether it's GOOD ENOUGH. Most audience are actually not as discerning as we are.. So imho, it'd "look" just fine on a 50inch tv.

Off topic, has anyone found any good post workflow discussion for these DSLRs whereby the eventual display is for cinema screens? Also do they still acquire in camera (h264) or via other mediums like Convergent Designs etc? Is there still any advantages going the DPX route for DI if acquisition is on mp4/h264? Let me know if any of you has any information!
Thanks in advance!

 

[stan chung]

Most clients care more for bottomline than quality. :bsmilie: Sad but true. You could place a large mock up film camera[arri] and place the 7D 5D out from view and they wouldn't know the difference in telecine. :devil:

There'll always be market for videocams because of AF function that DSLR doesn't have for video.

Making movies or TV commercials with DSLR's is happening right now. I've just used a 7D as 2nd camera for shooting TVC. Going into editing now to check the difference compared to 1st cam shooting 16mm film. 7D does 50 frames WOOT albeit at lower res. Video looks smooth.

 

[hiderocketdive]

hahahaha....but if the client asks for the OCN, then hehe...

Are you doing a 2k scan for the 16mm? Just interested how your post house going to deal with the DSLR footage...

 

[DXNMedia]

Off topic, has anyone found any good post workflow discussion for these DSLRs whereby the eventual display is for cinema screens? Also do they still acquire in camera (h264) or via other mediums like Convergent Designs etc? Is there still any advantages going the DPX route for DI if acquisition is on mp4/h264? Let me know if any of you has any information!
Thanks in advance!

I have been following this thread with great interest about the discussion on using DSLR as a video acquisition tool.

Different cameras will have their own applications and use, and there is no doubt that the front end of the DSLR cameras have been an excellent development. large sensor & interchangeble lenses for a fraction of the price we'd otherwise have to pay, but the downside about DSLR is the internal recording format.

When dealing with highly compressed footage in post production, there isn't much pixel & color information we can manipulate in post in terms of compositing and color grading. Any further manipulation that you do to your image just adds more noise and compressional artifacts in your picture no matter what format you transcode to. You're not able to bring out details or picture info when it's not even recorded in the first place.......famous quote, "Garbage in, garbage out..."

Of course, many people use the workaround to record in a better format using the HDMI output of DSLR cameras, but considering the hassles of worrying about a 3rd party recorder, more gears to lug to on-location, more crew to hire just for data wrangling, etc...
I personally prefer to shoot with a less compressed acquisition format like the Varicam P2 or HDCAM cameras.

But having said all that, it all depends on the client's budget and type of work.
If I'm doing straight up 'dramatic works', 7D/5D workflow suits me fine, but if I'm doing lots of compositing work, DSLR will be a strict no-no.
if I'm going to have the budget to print to 35mm or go for digital projection, I think I'll not kill myself and my reputation by opting for a direct-recording-into-DSLR (H264) acquisition workflow.
:thumbsup:

Let's keep up the discussion....very interesting to hear more opinions on the trends of video filming for both corporate, broadcast & personal use.

 

[hiderocketdive]

As a matter of fact, I know there's a few movies that were shot with DSLRs, though I am not certain they are meant for theatrical release. If they are, then I'm very very interested to know their post workflow.

 

[DXNMedia]

Only two workflow solutions that are available for DSLR video at this point of writing....

1) Capture via HDMI to a better acquisition format by using external recorders.

2) Capture into the H264 native format, transcode to a better working format like a 4:2:2 Intra-frame based codec.

 

[jaegersing]

For heavy editing it is easier to transcode to intermediary code. But for simple stuff like cuts and colour correction, I can edit in realtime using Edius on an i7 PC. So it's not always necessary to transcode nowadays. And as processors get faster, this situation should keep improving.

 

[sibeiblur]

If I've a good budget for my feature film that is heavily funded or invested, I will choose a RED or a Sony over any DSLR.

However, if I don't have a good budget but I still want to make this film because I have a GREAT story to tell, I'll not hesitate to shoot it with the Canon 5D or 7D. If your feature film story is super good with super reviews and is a potential major festivals winner, don't worry about it being shot on 5D or 7D, money will come in automatically to help you put it on the BIG screen.

As for using DSLR for local TV. Medicorp don't give a crap what's the acquiring format considering their QC with the stuff you see on-air. So I say if DSLR is good for the last episode of Fox's series House, it's should be more than fine for Mediacorpse

 

[Snooze]

Hi,
I believe DSLR sensors are generally much bigger than 1/3 inch, even if we compare it with a APS-C sensor or a micro 4/3. So I believe we need less light for the same output luminance for DSLR vs 1/3 sensors.

But i do agree on having a good monitor for the focus puller. It's quite a bitch pulling on Canon still lenses. Also personally, I don't particularly like the breathing on some of the zooms. It draws too much attention to the focus pull...

It's a fact that quite a lot of broadcast works are done on these DSLR these days, whether we think they are suited or not. It's a matter of whether it's GOOD ENOUGH. Most audience are actually not as discerning as we are.. So imho, it'd "look" just fine on a 50inch tv.

Off topic, has anyone found any good post workflow discussion for these DSLRs whereby the eventual display is for cinema screens? Also do they still acquire in camera (h264) or via other mediums like Convergent Designs etc? Is there still any advantages going the DPX route for DI if acquisition is on mp4/h264? Let me know if any of you has any information!
Thanks in advance!

I know Nano flash works well with EOS-550D Via HDMI for seamless recording but not 5Dmk2. :sweat: The HDMI output of all currently available DSLR's, as far as I know, including the Canon 5D Mark II, do not output a high quality HDMI signal. But what i read on the other forum was the recording on Nano Flash was very good with EOS550D.

 

[hiderocketdive]

If your feature film story is super good with super reviews and is a potential major festivals winner, don't worry about it being shot on 5D or 7D, money will come in automatically to help you put it on the BIG screen.

Unfortunately, the economics of the business doesn't quite work this way. IF the film is damn freaking good, then yeah, the chance of it being released theatrically is higher. But because of all the costs the distributors have to bear, you will end up with a deal that's less than ideal for an award winning film.

 

[sibeiblur]

Unfortunately, the economics of the business doesn't quite work this way. IF the film is damn freaking good, then yeah, the chance of it being released theatrically is higher. But because of all the costs the distributors have to bear, you will end up with a deal that's less than ideal for an award winning film.

Film distribution itself is a complex business and it's best left to the businessman, your producer

I think for an aspiring indie filmmaker, it is important to get your first feature film out and show what you are capable of.

I have seen many filmmakers and their producers trying endlessly to secure the ultimate budget for their first feature. Rather than considering other alternative, they insisted on shooting with certain cine lenses, camera packages and some say die die must be on 35mm film. Sadly, after a long process everybody losses steam and interest in a project that started out with so much potential.

Get your first film out. You are judge not by your first feature but your second and third... don't worry about how much you will be making at the box office because you will probably not. Just make sure you don't bankrupt yourself after making the first one and still have the stamina for the second.

If you think you have a really good story (which strangely everyone I knew believe he has ) this newer technology will ease you along. Sure, all DSLR will have problems regards to jello, moire and resolution etc etc but rather than dismissing it, see whether your production team can work around the issues.

If your first feature is well received, there will be people coming knocking on your door. Then you can tell them you would like to shoot your second feature on RED ONE or ARRI and perhaps your third on 3D:bsmilie:

BTW, the DSLR or any camera package is just one part of the production cost. Whatever you save from the camera package, spend it wisely on good sound, good sets and remember to PAY YOUR CREW:bsmilie:

I think I have OT. apologies TS.

 

[Snooze]

Film distribution itself is a complex business and it's best left to the businessman, your producer

I think for an aspiring indie filmmaker, it is important to get your first feature film out and show what you are capable of.

I have seen many filmmakers and their producers trying endlessly to secure the ultimate budget for their first feature. Rather than considering other alternative, they insisted on shooting with certain cine lenses, camera packages and some say die die must be on 35mm film. Sadly, after a long process everybody losses steam and interest in a project that started out with so much potential.

Get your first film out. You are judge not by your first feature but your second and third... don't worry about how much you will be making at the box office because you will probably not. Just make sure you don't bankrupt yourself after making the first one and still have the stamina for the second.

If you think you have a really good story (which strangely everyone I knew believe he has ) this newer technology will ease you along. Sure, all DSLR will have problems regards to jello, moire and resolution etc etc but rather than dismissing it, see whether your production team can work around the issues.

If your first feature is well received, there will be people coming knocking on your door. Then you can tell them you would like to shoot your second feature on RED ONE or ARRI and perhaps your third on 3D:bsmilie:

BTW, the DSLR or any camera package is just one part of the production cost. Whatever you save from the camera package, spend it wisely on good sound, good sets and remember to PAY YOUR CREW:bsmilie:

I think I have OT. apologies TS.

Begin good is another point, whether you are recognize enough is another. Sponsor Arri and RED ONE and a 3D i will only dream of it first. Don't dream too hard ah. LOL. I think not many people can make it in the first featured film unless super talented. LOL you sound like your boss never pay you leh. ;p Kidding ah

 

[hiderocketdive]

May I add.... PAY YOUR CREW ON TIME!!!! and feeding them well helps too!!

I believe at the end of the day, it's just all about managing expectations across the boards. If the director don't have much expectations, heck, maybe I'll just pull out a Samsung OmniaHD and shoot the scene for him!

 

[Snooze]

May I add.... PAY YOUR CREW ON TIME!!!! and feeding them well helps too!!

I believe at the end of the day, it's just all about managing expectations across the boards. If the director don't have much expectations, heck, maybe I'll just pull out a Samsung OmniaHD and shoot the scene for him!

HAHAHAHA!!! You are kind enough to use a Samsung Ominia HD, I would have use some China brand Spitz to record for him... Yeah i believe paying on time is a morale booster for everyone.

 

[tengo]

Guess what? I just borrowed my brother's Canon 7D and made my first HDSLR short film with it.

I have shared about my experience of working with 7D/HDSLR too:

http://www.vimeo.com/12042790

 

[jasonjoseph]

nice film. very bloomesque

i thought the shots of the sea really looked quite blotchy, could be vimeo compression or a "limitation" of the 7D.

 

[sonick]

DSLR video's focus is not as fast as Handycam..

That's the main problem and does anyone heard that taking video with DSLR will cause the sensor spoilted faster.

 

[jaegersing]

DSLR video's focus is not as fast as Handycam..

That's the main problem and does anyone heard that taking video with DSLR will cause the sensor spoilted faster.

Shooting video by itself should not wear out the sensor, but the extra heat generated in Liveview may have an effect on sensor life. If so, probably nobody has had the camera long enough for this to show up yet.

 

[Purance]

Anyone watch House? Should watch the season finale, it was shot fully with 5d mark2. Seems cool uh! --> http://www.photographyblog.com/news/canon_5d_mark_ii_shoots_season_finale_of_house/

 

[Snooze]

I am wondering if convergent design Nano flash will work with Canon 550D,7D or the new 60D HDMI output or not?
Anyone has any ideas? If it is able to work it will be some really good news.