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Cameras Tips and Techniques
What Video Camera Do I Need?
This is a huge question, the choice of camera being influenced by so many factors
that it will be difficult to answer conclusively. Your subject, style and budget
are probably the main factors you should consider. How your product will be viewed
also determines what camera would be best.
Feel free to send me email at tips@mopacmedia.com
or call (512) 244-3668 to discuss your project. Also, the very brief Camera
Selection Table at the end of this page might give you some idea of what camera
you might need.
Quality
Recording images onto Digital Video is equivalent to BetaSP's resolution. And
staying in the digital domain as you edit will give you an advantage over BetaSP.
For chroma-keying using blue or green screen, you can use DV cameras like the
Canon XL1 and Sony TRV-900 but you will have to work harder to get clean results.
Digital Beta, DVCPRO50, or Digital-S record at higher color resolution and will
be better suited for chroma-keying. These cameras are much more expensive, so
DV will probably be your best choice unless the budget provides for one of these
$750/day cameras.
For most productions, the quality of DV provided by the Canon XL1 and Sony TRV-900
are more than enough to give you a very professional look. Super8 is your best
bet for that film look, but good lighting and some tricks can be used with digital
video to give you a film look.
An important tip: The viewfinders of prosumer cameras like the XL1 are not accurate
enough for exposure control, color checking and framing. You need a good field
or production monitor that has high resolution (for accurate focusing), 4:3 and
16:9 format selection, and underscan (to check for objects just inside the frame
but not shown in the viewfinder). Also, having a 12V capable monitor is great
in the field where you may not have access to 110V power.
Subject Matters
Starting with your subject, what is your film about? For instance, if you are
producing a corporate video for promotional or training purposes, then you want
a professional image and clean video. If you are filming a documentary, you may
want a smaller, less intimidating camera, so your interviewees will be more comfortable
and relaxed. Below is a table that may help identify what camera you need.
Corporate and Industrial Training Videos
Businesses typically want to be professional and can expect the same with the
services and products they buy. Video with little distortion, well lit images,
and clear sound are what your more picky clients want. Even if they have no budget,
they may not be satisfied with lower resolution cameras like Hi8 and SVHS. I recommend
BetaSP and Digital Video as your best choices, the Canon
XL1 being a favorite, combined with tripod
and maybe a jib (if the budget supports it) for dynamic shots.
One unfortunate aspect of corporate productions is image. If you come in with
a consumer-looking camera, your client might lose faith in your abilities. The
Canon XL1 is between a consumer and professional camera. In the past, professionals
have had no other choice than BetaSP cameras, so clients are used to seeing these
behemoths. The JVC GY-DV500 is a miniature-looking version of the BetaSP cameras.
The Canon should be okay, especially if your attitude is professional and you
bring professional audio, lighting and camera support. Of course, the proof is
in the program and both the Canon XL1 and the Sony TRV-900 record images equal
to BetaSP.
Documentary and Events
When you are filming life for incorporation into a documentary, what you are filming
and under what circumstances are important. If you are interviewing someone, I
recommend the Sony TRV-900 for its small size.
The reason is, you want to put your subject at ease, comfortable, and relaxed
so they will respond with natural answers to your questions giving you insight
into your subject.
If you are filming in a dark location where you may not have adequate lighting,
there are a number of newer cameras that handle low light conditions. The Canon
XL1, the JVC GY-DV500, and the Sony DSR-300. These cameras can record under low
light without adding a lot of noise. The Sony VX-1000 is not a good choice for
low light unless you are wanting that particular look.
For events and news topics where you can't put the camera on a tripod, the Canon
XL1 has the advantage of a great optical image stabilization. No other camera
comes close to the rock-steady images from the XL1 when hand-held. I've been able
to zoom in on a subject and, using good hand-held techniques, produce a very watchable
video while hand-held without the image noticably shaking.
Music Videos
Here, I recommend anything that will realize your vision. A surprisingly good
choice for music videos is Super8. If you don't want it to look like it was shot
on video, your best is to shoot it on film. The big budget shoots are done on
film, usually 16mm and 35mm for the big labels, but a surprising number are shot
on Super8. It's relatively inexpensive, can be transferred to video or blown-up
to larger film formats with gorgeous results. It is more grainy and gives a softer
look but that can be a benefit that sets your video apart. The color Super8 stock
can give wonderful pastel colors and the black and white stock can be very sharp
and fast for low light conditions.
I recommend teh Sankyo camera, it has several settings that give you control over
the image. It is also capable of both smooth slow motion and stop animation. The
local Cinemaker's Coop can be a great source for
Super8 experitse and equipment.
Getting a Film Look
Here, you really need to get with your Director of Photography and decide what
image you are going after. The Canon XL1 is a favorite among DPs, for the image
it can produce. There are newer cameras that provide more control over the image,
such as the JVC GY-DV500 and the Sony DSR-300. Whether to shoot widescreen or
not is an issue. The Canon XL1 and Sony TRV-900 both can record in the 16:9 format,
although using less resolution because they simply crop the top and bottom of
the image. The Sony DSR-500 gives a true 16:9 widescreen format without sacrificing
resolution but this is a much more expensive camera. Another technique is to put
tape over the top and bottom of the camera's viewfinder and/or monitor. This allows
you to frame the image for 16:9 in post production.
Another issue to deal with is whether to shoot progressive video or not. With
the Canon XL1, you have three choices: "frame" mode, 1/30th second shutter
speed or 1/60th second shutter speed. To explain frame mode, you need to understand
how interlaced video works. There are several articles that explain interlaced
video elsewhere on the net but essentially, every video frame consists of two
fields. In frame mode, one field is replaced by a field that is created from the
other field through interpolation. This gives a look and feel similar to film.
If you notice how in a theater whenever the camera
pans, objects that are not moving with the camera are hard to focus on and appear
to stutter, this is one of the effects.
1/30th second shutter speed does something similar but you still have the two
field and they are still not identical, as opposed to frame mode. I like this
look over 1/60th shutter speed. 1/60th shutter speed is what we normally see on
TV and it looks very much like video. 1/60th is best for corporate video and whenever
the client is expecting video. 1/30th and frame mode shooting is best for entertainment
video.
The best way to get a film look is through your lighting.
This is very much a function of your DP and no doubt if you spend the time up
front developing your lighting plan, you will be pleased with the results.
One more trick to get a film look is by placing
a filter on the camera lens. There are several filters used for this effect, one
I recommend if the Tiffen Black Pro Mist series. You can rent these in various
grades from us. Use the lighter grades when zoomed in and the heavier grades when
zoomed out. Another technique is to stretch women's hose over the back of the
lens. The Canon XL1 allows you to take the lens off and stretch the hose over
the back. You can also stretch the hose over the front for a bigger effect.
Finally, in post production you can apply filters to your video to achieve more
film looks. But by and far, lighting as you would
a film is your best bet.
Shooting in PAL
If your video will be transferred to film for viewing in theaters or or film festivals,
I recommend you shoot using PAL format cameras. PAL is the European video standard
and is closer in frame rate to film and has extra resolution over the North American
NTSC standard. We rent a PAL Canon XL1 and PAL monitor equipment for your shoot.
Call for details.
Gritty Subjects
If you are filming a fictional narrative that delves into the dark, murky waters
of the human psyche or the underbelly of society, then you may want a gritty texture
and sub-optimal images. A good example is the Danish film "The
Celebration" where cinematographer Anthony
Dod Mantle uses a very inexpensive miniDV plam-sized camera to get noisey
images of the subjects as their world is turned upside down and dragged through
the mud of social taboo. Is your subject matter really out there? Try the PixelCam,
a favorite among underground video artists.
Another camera that's popular among artists is the Super8 format. Depending on
the film used, Super8 delivers pastel colors, high resolution, and high contrast
range (when compared to video). This allows you to shoot outdoors without having
to worry about bright areas and dark areas in the same shot. If you are filming
a documentary, then video is definitely the way to go (much cheaper "film"
stock, you can shoot lots of video and leave the camera rolling in hopes of capturing
that human moment). As far as which video format to use, it's best to get as good
an image as you can, but there are factors to consider. If you are filming interviews
with people not used to being interviewed, a big camera and lights/microphones
can be intrusive. They may clam up or become nervous. If you use a small consumer-style
camera like the Sony TRV-900 and use only natural
lighting and a small, lavalier microphone, your subject may forget about the camera
and be conversational. Again, if the subject is gritty, go with a lower brand
of camera.
The camera affects the "look" your finished product will have. If your
subject requires beautiful photography, then you
will probably need DV or film for the higher resolution and better color.
Camera Selection Table
What Video Camera Do I Need?
This is a huge question, the choice of camera being influenced by so many factors
that it will be difficult to answer conclusively. Your subject, style and budget
are probably the main factors you should consider. How your product will be viewed
also determines what camera would be best.
Feel free to send me email at tips@mopacmedia.com
or call (512) 244-3668 to discuss your project. Also, the very brief Camera
Selection Table at the end of this page might give you some idea of what camera
you might need.
Quality
Recording images onto Digital Video is equivalent to BetaSP's resolution. And
staying in the digital domain as you edit will give you an advantage over BetaSP.
For chroma-keying using blue or green screen, you can use DV cameras like the
Canon XL1 and Sony TRV-900 but you will have to work harder to get clean results.
Digital Beta, DVCPRO50, or Digital-S record at higher color resolution and will
be better suited for chroma-keying. These cameras are much more expensive, so
DV will probably be your best choice unless the budget provides for one of these
$750/day cameras.
For most productions, the quality of DV provided by the Canon XL1 and Sony TRV-900
are more than enough to give you a very professional look. Super8 is your best
bet for that film look, but good lighting and some tricks can be used with digital
video to give you a film look.
An important tip: The viewfinders of prosumer cameras like the XL1 are not accurate
enough for exposure control, color checking and framing. You need a good field
or production monitor that has high resolution (for accurate focusing), 4:3 and
16:9 format selection, and underscan (to check for objects just inside the frame
but not shown in the viewfinder). Also, having a 12V capable monitor is great
in the field where you may not have access to 110V power.
Subject Matters
Starting with your subject, what is your film about? For instance, if you are
producing a corporate video for promotional or training purposes, then you want
a professional image and clean video. If you are filming a documentary, you may
want a smaller, less intimidating camera, so your interviewees will be more comfortable
and relaxed. Below is a table that may help identify what camera you need.
Corporate and Industrial Training Videos
Businesses typically want to be professional and can expect the same with the
services and products they buy. Video with little distortion, well lit images,
and clear sound are what your more picky clients want. Even if they have no budget,
they may not be satisfied with lower resolution cameras like Hi8 and SVHS. I recommend
BetaSP and Digital Video as your best choices, the Canon
XL1 being a favorite, combined with tripod
and maybe a jib (if the budget supports it) for dynamic shots.
One unfortunate aspect of corporate productions is image. If you come in with
a consumer-looking camera, your client might lose faith in your abilities. The
Canon XL1 is between a consumer and professional camera. In the past, professionals
have had no other choice than BetaSP cameras, so clients are used to seeing these
behemoths. The JVC GY-DV500 is a miniature-looking version of the BetaSP cameras.
The Canon should be okay, especially if your attitude is professional and you
bring professional audio, lighting and camera support. Of course, the proof is
in the program and both the Canon XL1 and the Sony TRV-900 record images equal
to BetaSP.
Documentary and Events
When you are filming life for incorporation into a documentary, what you are filming
and under what circumstances are important. If you are interviewing someone, I
recommend the Sony TRV-900 for its small size.
The reason is, you want to put your subject at ease, comfortable, and relaxed
so they will respond with natural answers to your questions giving you insight
into your subject.
If you are filming in a dark location where you may not have adequate lighting,
there are a number of newer cameras that handle low light conditions. The Canon
XL1, the JVC GY-DV500, and the Sony DSR-300. These cameras can record under low
light without adding a lot of noise. The Sony VX-1000 is not a good choice for
low light unless you are wanting that particular look.
For events and news topics where you can't put the camera on a tripod, the Canon
XL1 has the advantage of a great optical image stabilization. No other camera
comes close to the rock-steady images from the XL1 when hand-held. I've been able
to zoom in on a subject and, using good hand-held techniques, produce a very watchable
video while hand-held without the image noticably shaking.
Music Videos
Here, I recommend anything that will realize your vision. A surprisingly good
choice for music videos is Super8. If you don't want it to look like it was shot
on video, your best is to shoot it on film. The big budget shoots are done on
film, usually 16mm and 35mm for the big labels, but a surprising number are shot
on Super8. It's relatively inexpensive, can be transferred to video or blown-up
to larger film formats with gorgeous results. It is more grainy and gives a softer
look but that can be a benefit that sets your video apart. The color Super8 stock
can give wonderful pastel colors and the black and white stock can be very sharp
and fast for low light conditions.
I recommend teh Sankyo camera, it has several settings that give you control over
the image. It is also capable of both smooth slow motion and stop animation. The
local Cinemaker's Coop can be a great source for
Super8 experitse and equipment.
Getting a Film Look
Here, you really need to get with your Director of Photography and decide what
image you are going after. The Canon XL1 is a favorite among DPs, for the image
it can produce. There are newer cameras that provide more control over the image,
such as the JVC GY-DV500 and the Sony DSR-300. Whether to shoot widescreen or
not is an issue. The Canon XL1 and Sony TRV-900 both can record in the 16:9 format,
although using less resolution because they simply crop the top and bottom of
the image. The Sony DSR-500 gives a true 16:9 widescreen format without sacrificing
resolution but this is a much more expensive camera. Another technique is to put
tape over the top and bottom of the camera's viewfinder and/or monitor. This allows
you to frame the image for 16:9 in post production.
Another issue to deal with is whether to shoot progressive video or not. With
the Canon XL1, you have three choices: "frame" mode, 1/30th second shutter
speed or 1/60th second shutter speed. To explain frame mode, you need to understand
how interlaced video works. There are several articles that explain interlaced
video elsewhere on the net but essentially, every video frame consists of two
fields. In frame mode, one field is replaced by a field that is created from the
other field through interpolation. This gives a look and feel similar to film.
If you notice how in a theater whenever the camera
pans, objects that are not moving with the camera are hard to focus on and appear
to stutter, this is one of the effects.
1/30th second shutter speed does something similar but you still have the two
field and they are still not identical, as opposed to frame mode. I like this
look over 1/60th shutter speed. 1/60th shutter speed is what we normally see on
TV and it looks very much like video. 1/60th is best for corporate video and whenever
the client is expecting video. 1/30th and frame mode shooting is best for entertainment
video.
The best way to get a film look is through your lighting.
This is very much a function of your DP and no doubt if you spend the time up
front developing your lighting plan, you will be pleased with the results.
One more trick to get a film look is by placing
a filter on the camera lens. There are several filters used for this effect, one
I recommend if the Tiffen Black Pro Mist series. You can rent these in various
grades from us. Use the lighter grades when zoomed in and the heavier grades when
zoomed out. Another technique is to stretch women's hose over the back of the
lens. The Canon XL1 allows you to take the lens off and stretch the hose over
the back. You can also stretch the hose over the front for a bigger effect.
Finally, in post production you can apply filters to your video to achieve more
film looks. But by and far, lighting as you would
a film is your best bet.
Shooting in PAL
If your video will be transferred to film for viewing in theaters or or film festivals,
I recommend you shoot using PAL format cameras. PAL is the European video standard
and is closer in frame rate to film and has extra resolution over the North American
NTSC standard. We rent a PAL Canon XL1 and PAL monitor equipment for your shoot.
Call for details.
Gritty Subjects
If you are filming a fictional narrative that delves into the dark, murky waters
of the human psyche or the underbelly of society, then you may want a gritty texture
and sub-optimal images. A good example is the Danish film "The
Celebration" where cinematographer Anthony
Dod Mantle uses a very inexpensive miniDV plam-sized camera to get noisey
images of the subjects as their world is turned upside down and dragged through
the mud of social taboo. Is your subject matter really out there? Try the PixelCam,
a favorite among underground video artists.
Another camera that's popular among artists is the Super8 format. Depending on
the film used, Super8 delivers pastel colors, high resolution, and high contrast
range (when compared to video). This allows you to shoot outdoors without having
to worry about bright areas and dark areas in the same shot. If you are filming
a documentary, then video is definitely the way to go (much cheaper "film"
stock, you can shoot lots of video and leave the camera rolling in hopes of capturing
that human moment). As far as which video format to use, it's best to get as good
an image as you can, but there are factors to consider. If you are filming interviews
with people not used to being interviewed, a big camera and lights/microphones
can be intrusive. They may clam up or become nervous. If you use a small consumer-style
camera like the Sony TRV-900 and use only natural
lighting and a small, lavalier microphone, your subject may forget about the camera
and be conversational. Again, if the subject is gritty, go with a lower brand
of camera.
The camera affects the "look" your finished product will have. If your
subject requires beautiful photography, then you
will probably need DV or film for the higher resolution and better color.
Camera Selection Table
Copyright © 2003 Mopac Media of Austin, Texas
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Article Added: Jul 26, 2004
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