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.
The audio capabilities on HDSLRs are relatively limited and in many situations will produce unusable sound. Professional users have to contend with a range of issues, such as low quality built-in mics and automatic gain control. Thankfully, there are workarounds for a wide spectrum of uses and budgets.
In general, the post requirements for most of these cameras are quite similar. All shoot to flash cards in one of several major formats that are reasonably easy to transcode into an editable format. The choice is less about the media they produce than it is about the essential characteristics of that media: resolution, frame rate, and potential problems like noise and moiré.
White balance is the nearest digital equivalent to “daylight film stock” or “tungsten film stock.” The actual response of the image sensor to light is designed and fixed at the point of manufacturing, so adjustments for white balance are done electronically.
With all of the advantages that the HDSLR revolution has given video producers and filmmakers, there are a number of well-known drawbacks to be aware of: moiré, aliasing, lack of headphone monitoring and sensors that quickly overheat. One of the lesser-known drawbacks is an audio feature called AGC.
There are a number of reasons and advantages for choosing to shoot with wider-aperture lenses. Included are the ability to capture sharp, low-light imagery at slower shutter speeds, quicker autofocus and exposure response times—which in turn reduce shutter lag times—and the option to capture your subject in a narrow, selective band of focus.
The ability to dial in ISO sensitivities in the five- to six-figure range in 1/3-stop increments is pretty heady stuff. With the exception of some of the highest ISO ratings, the image quality of the resulting imagery remains surprisingly decent and is equal to or better than the image quality of the fastest film stocks.
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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.
HDSLRs accept either Secure Digital (SD) or CompactFlash (CF) cards. Some, like the Nikon D300s and Canon 1D Mark IV, can accept both.
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.
The audio capabilities on HDSLRs are relatively limited and in many situations will produce unusable sound. Professional users have to contend with a range of issues, such as low quality built-in mics and automatic gain control. Thankfully, there are workarounds for a wide spectrum of uses and budgets.
In general, the post requirements for most of these cameras are quite similar. All shoot to flash cards in one of several major formats that are reasonably easy to transcode into an editable format. The choice is less about the media they produce than it is about the essential characteristics of that media: resolution, frame rate, and potential problems like noise and moiré.
White balance is the nearest digital equivalent to “daylight film stock” or “tungsten film stock.” The actual response of the image sensor to light is designed and fixed at the point of manufacturing, so adjustments for white balance are done electronically.
The amount of equipment and electrical power required to match a powerful studio strobe with a continuous-output movie light is prodigious.
With all of the advantages that the HDSLR revolution has given video producers and filmmakers, there are a number of well-known drawbacks to be aware of: moiré, aliasing, lack of headphone monitoring and sensors that quickly overheat. One of the lesser-known drawbacks is an audio feature called AGC.
There are a number of reasons and advantages for choosing to shoot with wider-aperture lenses. Included are the ability to capture sharp, low-light imagery at slower shutter speeds, quicker autofocus and exposure response times—which in turn reduce shutter lag times—and the option to capture your subject in a narrow, selective band of focus.
The ability to dial in ISO sensitivities in the five- to six-figure range in 1/3-stop increments is pretty heady stuff. With the exception of some of the highest ISO ratings, the image quality of the resulting imagery remains surprisingly decent and is equal to or better than the image quality of the fastest film stocks.
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