In the following video, Rob Rives, from B&H, demonstrates the Nord Lead 4 49-Key Synthesizer and its redesigned multi-timbral sound engine. Rives discusses how it can be used to produce a variety of sounds including basses, pads, and leads while exploring its 4-part arpeggiator, DSP effects, and Virtual Analog and FM synthesis.
This series of educational videos from B&H provides a crash course for shooting filmic video with an HDSLR camera. Cinematographer Shane Hurlbut, ASC, demonstrates the formidable capabilities of the Canon 5D Mark II, but many of the fundamentals that are discussed will provide insight into the HDSLR category in general.
The recently released Nikon D600 is a full-frame DSLR featuring a 24.3-megapixel CMOS sensor, compact form factor, expandable sensitivity from ISO 50 to 25600, continuous shooting rate of up to 5.5 fps, and a large 3.2” 921k-dot LCD monitor. Full HD 1080p video recording is available and supports multiple frame rates, manual exposure control, and continuous autofocusing.
In the summer of 2008, Nikon released the D90, a DSLR with an extra feature: HD video recording. It rocked the digital photography and video worlds. Suddenly photographers could shoot dynamite video and videographers could get the look and feel of a cinema camera without the cinema camera price tag. HD video quickly became the feature to look for in a DSLR. A new category of camera was born: the HDSLR.
This chapter discusses the many benefits that HDSLRs have to offer, as well as the limitations that have to be considered when making the choice of adopting these cameras. Each benefit or limitation needs to be weighed against the specific needs of each user. However, there will always be situations where HDSLRs may not be the most effective choice.
The ability to choose from literally hundreds of lenses opens up a world of possibilities once impossible for small-budget productions. Being able to capture a wide view of a small room with a super-wide-angle lens, or getting a close-up of a subject from a distance, are just two of many powerful options at the photographer’s disposal.
While many "looks" can be achieved in post-production, certain aspects of the image are better controlled before the image is recorded. Optical filters modify the light before it enters the lens. The benefit of using optical filters instead of digital filters is that there is no added time in post production and less degradation of the image quality, especially in HDSLRs, which already have limited color space and a highly compressed image.
Lens flaring can occur when a light source such as the sun or artificial lights, strikes the front of the lens at a certain angle and then bounces across different surfaces to produce glare in the image. Using additional filters in front of the lens can increase the chances of flaring.
Using the lens focus ring to focus is the most basic and economical way to pull focus. It’s a good way to jump into the world of manual focus and also offers the simplest, smallest and lightest setup. In many situations, however, there will be a need for a better and more refined way of controlling focus.
While LCDs on some cameras have a high resolution, at 3" most objects appear too small to accurately judge focus and frame a shot. It is also difficult to see the LCD in bright daylight. Most HDSLRs (except for cameras with an electronic viewfinder) disable the optical viewfinder during video/live mode, so it's of no use other than for setting up a shot before going into live mode.
Motion control, to borrow a term, is another caveat of the HDSLR. Its form and ergonomics were designed to shoot stills without the need to record in motion. By the way the camera is held and where the start/stop button (shutter release) is located, it's obvious HDSLRs weren't designed for shooting video.
With all of the HDSLR handheld and shoulder supports available, a tripod is still the most stable form for mounting a camera. The stability factor becomes even more important when the HDSLR rolling shutter issue is considered, because the issue is exacerbated by motion. For this reason, unless the camera must be moved around to follow action, a tripod is an ideal way to support the camera.
Most handheld HDSLR setups make it impractical to start and stop recording because the buttons are on the back of the camera and the operator’s hands will generally be positioned elsewhere gripping handles on a support or tripod. That's not to say it isn't possible; it's just not easy. Some SLR remotes (not all) can control the start/stop function of the camera in Live/Video Mode.
Many users would benefit tremendously if there was a way to record uncompressed or less compressed video using an external device. While this is possible using the HDMI output from the Canon T2i, 7D and 1D Mark IV (5D Mark II outputs 480p during recording), the resulting image will be less then the full resolution recorded by the camera.
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