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full screenprintcontentsfull screenprint10 VIDEOMAKER >>> MAY 2019
How
to
Buy
a
Camera
I
t’s not just that there are dozens of
cameras to choose from, it’s that
each one offers something different,
while at the same time sacrificing other
desirable features. Before you consider
any camera, you need to know about
the features and options you’ll require.Form factor
Cameras come in a wide range of
sizes, shapes and weights. These can
generally be divided into three main
categories: camcorders, DSLR and mir-
rorless cameras and cinema cameras.For most of video history, the
camcorder has reigned as the most
common camera form factor. These
all-inclusive video-first cameras can
be large or small, simple or advanced,
but they all share a few common-
alities. For one, a camcorder’s lens
is fixed in place, meaning you can’t
swap it out for another lens if you
need a longer or shorter focal length.
Luckily, these lenses usually have im-
pressive zoom ranges to compensate.
Another shared trait is the highly ac-
cessible camera controls. Camcorders384 B02 How to Buy a Camera.indd 10 3/19/19 2:07 PMVIDEOMAKER >>> MAY 2019 11
How
to
Buy
a
Camera
While we have
more options
and more
technology
than ever
before, buying
a new camera
has never been
more difficult.
For most of video history, the
camcorder has reigned as the most
common camera form factor. These
all-inclusive video-first cameras can
be large or small, simple or advanced,
but they all share a few common-
alities. For one, a camcorder’s lens
is fixed in place, meaning you can’t
swap it out for another lens if you
need a longer or shorter focal length.
Luckily, these lenses usually have im-
pressive zoom ranges to compensate.
Another shared trait is the highly ac-
cessible camera controls. Camcorderstypically have external knobs, buttons
and control rings to help you adjust for
changing shooting conditions quickly,
without having to dive into the camera
menu. This along with more robust
connectivity options, like XLR audio
inputs, make camcorders especially
appealing for newsgathers and others
shooting in run-and-gun situations.
With the release of the Canon 5D
Mark II, video production moved into
a new era: the age of the DSLR. Sud-
denly, these large-sensor, photo-first
cameras were capable of recordingvideo, giving cinematographers access
to the long sought-after cinematic
depth of field at an affordable price
point. As time has gone on, DSLRs, or
digital single lens reflex cameras, have
evolved into smaller, lighter mirrorless
cameras, shedding the legacy mirror
that was necessary in traditional still
cameras that used film. Though this
form factor does allow for larger sen-
sors and swapping out lenses for more
creative control, mirrorless and DSLR
shooters make sacrifices in ergonom-
ics and connectivity. It’s also worth
noting that an arcane tax code often
means these cameras are limited to a
continuous record time of just under
30 minutes. This may change in the
future, but for now, that’s another
strike against these cameras if you
need to document longer events.
Finally, cinema cameras combine
the best from both camcorders and
the DSLR/mirrorless form factor.
These interchangeable-lens cameras
offer larger sensors without trading
in ergonomics or connection options
— cinema cameras usually offer XLR
inputs and HDMI and/or SDI outputs
along with easily accessible camera
setting controls.
They’ll also often offer higher-qual-
ity codecs and RAW recording, all in
an effort to give editors and colorists
more latitude in post-production.Resolution
Once you know what form factor suits
your work, you’ll need to determinethe final resolution that your video
needs to be. If a 4K final product
isn’t the goal, you might not need 4K
recording as a feature. In many places,
like here in the United States, we
don’t broadcast anything in a higher
resolution than HD on TV. Fortunately,
shooting in a higher resolution like 4K
should deliver a sharper final video
when producing for HD delivery. It
also allows you to crop in and not
lose resolution. In the best cases, the
added flexibility to crop, zoom or pan
a shot without resolution loss is be
a big deal. In other situations, it can
make shooters lazy, since they know
it’s easier to fix problems in post.
Higher resolutions also add to the size
of the files and the resources needed
to work with such footage when you
get to post-production.
As technology has progressed,
we’re now also starting to see more
sensors capable of higher than 4K
resolutions, with the newest cinema
camera models offering recording
modes up to 8K. These higher resolu-
tions amplify both the benefits and
drawbacks of 4K shooting and will
likely be used only in high-end pro-
ductions, at least for now.
If you’re considering a 4K capable
camera, you should be aware that
there are two flavors of 4K: UHD and
DCI 4K. DCI has 256 more horizontal
pixels than UHD. DCI is the cinema
standard, whereas UHD is the con-
sumer standard, and the most prolific.384 B02 How to Buy a Camera.indd 11 3/19/19 2:08 PM