Camcorder Or Camera

Photographers who shoot for covers of stylish magazines, like the camera RED, popular with professionals of digital cinema. The ability to shoot at a speed of up to 30 frames per second with a resolution of 4K continuously for a sufficiently long time interested masters of glossy press.

Red Digital Cinema Camera Company Predicted demand, and a new generation of RED cameras was developed taking into account the recently fashionable philosophy of DSMC (Digital Still and Motion Camera), which combines the functions of video and photo cameras.

Devices of this type use different qualities in pairs in one housing. By sharing some common technologies, they can have small dimensions commensurate with large single-lens reflex cameras ( D igital S ingle- L ens R eflex - D SLR ). This is an electronic hybrid, created for two related, but different genres of visualization: movies and photos.

And while the LED is invading the territory of cameras dominated by Canon and Nicon, DSLR device manufacturers continue to improve their video specifications and are already seriously biting the digital camera market, approaching the DSMC class.

Canon was not the first company to incorporate the video shooting function into SLR cameras, but it was her new line of SLR digital cameras that became a real competitor to digital cameras. The first-born was the sensational camera Canon 5D Mark II with a full-format 35 mm matrix and the ability to shoot video with a resolution of 1080p.

And if the model 5D Mark II, as a first-born, only blew up the market, then the next model 7D quickly pushed the wave in all areas of low-budget cinema. Despite the fact that the matrix of 7D is somewhat smaller, still, roughly, this size is close to the 35 mm film frame and is commensurate with the size of the RED camera matrix. But most importantly, in this model of the camera, it was possible to shoot video at a rate of 24 frames per second, as in classical cinema. And this opportunity for the camera at $ 1600 made it extremely popular.

What are the technical parameters of a digital SLR camera that allow you to view DSLR cameras on the same level as a RED movie camera? There are several basic attributes, the presence of which indicates this. There are three main ones: 35mm matrix size, frame rate 24P, high resolution.

There should be some digression. The size of the full-frame 35 mm matrix may not correspond to the actual size of the 35mm matrix. This tautology has arisen thanks to skilful marketers who specially, to gently deceive the consumer, substitute some concepts for others and calmly can multiply cows with dogs. It's sad that later their concepts become our standards. It means that the 35 mm matrix can be smaller than it should be, but it should work with lenses designed for 35mm full-frame shooting. These are the so-called crested matrices and they produce a correspondingly crimped image. If you use equivalent lenses, and the identical ones can not be used, as will be described later, the difference in the area of the visible space on the images between the 5D Mark II camera and the RED camera will be as in the figure below.

Nevertheless, given the opinion of marketers, the camera RED has a 35 mm matrix. Other digital cameras with 35mm matrices have fabulous cost in comparison with RED (Sony F23, F35 can cost $ 250-500 000). Cameras with smaller matrices (for example, popular

Sony EX-3 has a matrix of 6.4x4.8 mm) just imitate filming, using additional optical 35 mm adapters that project the image on the camera's light-sensitive element. The 5D MARK II camera has a full-frame 35 mm matrix.

When we talk about shooting as a movie, the 24P format is primarily meant. For many years, filming has been conducted at a frequency of 24 frames per second and this is the standard that caters to film producers and viewers. There are some ways to get this image from other formats with the help of converters, but in fact this function should be built into the camera, which would be considered a digital cinema camera. The shooting mode 24P is included in the list of functions of the camera Canon 7D, which allows you to refer it to the class of cameras. To use the same shooting mode in the 5D Mark II, you will need to update the software.

The resolution is of the utmost importance for filming. In digital cinema, we can use HD resolution or higher, acceptable 720P, but of course 1080P will be better. Extra resolution is required if you are shooting movies for viewing on large screens. Canon DSLR cameras can shoot at resolutions up to 1080P. Camera RED allows you to shoot with a resolution of up to 4.5K. The new generation of RED is already up to 6K.

Despite the presence of the main features of digital cameras in Canon DSLR cameras, there are a number of drawbacks that do not allow them to fully compete with the digital cinema camera RED.

Even considering that many projects taken by the RED camera will be reproduced, ultimately, with a resolution of 1080P, the ability to shoot at 4K resolution, 4 times better than 1080P like the Canon DSLR, provides an incommensurably higher-quality final picture. The advantage of creating working material in 4K makes it possible to handle it more flexibly and accurately, especially when it comes to compositing. Canon DSLR cameras at the maximum can not shoot video with a resolution greater than 1080P.

But the most serious harm to the image comes from the clumsy mathematics of processing information in the Canon DSLR camera in video mode. Shooting video with a resolution of 1080P from Canon 7D occurs on an 18-megapixel matrix (5D Mark II has 21.2 megapixels), and enough 2,073,600 pixels. Accordingly, it is necessary to use a down conversion. In Canon DSLR cameras, this is implemented simply by eliminating unnecessary lines. Only 8 lines are saved! This form of conversion does not strain the logical camera apparatus, but it can cause serious aliasing. Large objects will look good, but the visible effect of aliasing and moire on images with high detail will be provided. In addition, this already slightly castrated signal will be subject to compression in MOV (H.264). In the same time The RED camera allows you to record the signal without compression in the "raw" format of Redcode RAW RGB 4: 4: 4, without losing information, which gives undoubted advantages.

Not too manufacturers of Canon DSLR cameras were concerned with the functionality of audio. So after all the camera still. As a result, the camera is unbalanced Audio input, equipped with non-switchable automatic level control. No phantom power. And along with these problems, there is no time code input, which makes the robot with audio even tedious and time-consuming.

With video interfaces also it's not so simple. Usually for professional film production, video monitors with BNC HD-SDI interfaces are used. This is a reliable connection for an inexpensive and reliable cable, which ensures the passage of the signal over long distances. Canon DSLR cameras have an analog output for a monitor of standard quality, which is not enough, and HDMI for HD (with a resolution of 480P), which is impractical, besides the sharpness of catching at such a resolution will not be easy. It is necessary to do it in pauses on 5x and 10x magnifications.

Now another trabbl. Virtually all common lenses for film production have a PL mount. This is the basic standard for 35 mm film lenses, developed many years ago by ARRI. The RED camera has such a default mount and this allows using different movie lenses. In Canon DSLR it is possible to use only photographic lenses, despite the fact that for cinematography, of course, it is preferable to use film lenses. They have absolute actual aperture values (T-stop) instead of relative (F-stop) as for the photographic lenses, throughout the entire zoom range. The barrel of focus in film lenses should turn around repeatedly to go from zero to infinity, whereas in photographic lenses this happens almost discreetly, which does not allow performing some staging tasks associated with moving the focus between the plans. Cinema lenses also change the size of objects much less when the focus changes.

John Fyajstout, co-owner of Asgard Entertiment, cameraman, producer and director of visual effects, was one of the first owners of the RED movie camera. He investigated some common problems for all CMOS-matrices that are installed in the cameras and identified the two main ones in his view. The first is manifested in fast panning, when vertical lines become inclined due to the fact that the video matrix does not have time to update the image. Another problem arises with short flashes of light and small flares that can shine up to a third of the image. When comparing the intensity of these distortions between RED ONE cameras, Sony EX1, and Canon 7D, it turned out that the first two models had approximately the same distortion levels, but 7D distortions were much more pronounced. Perhaps this is not the most frequent and noticeable defect, but it certainly should be considered.

For shooting a movie, it is common to use a shutter speed equal to 180⁰ or 1/48 second, twice the frame rate. This is the standard rule. But changing the shutter speed can significantly reduce distortion, for example, from flickering of meta-halogen or some types of fluorescent lamps. In the RED camera we can, in contrast to the Canon DSLR, adjust the shutter speed in a smart range and this in many cases avoids the unpleasant effects associated, in part, with synchronization with other image sources, for example, computer monitors in the frame. Canon DSLR has a photographic discrete range of shutter closures: 1/30, 1/40, 1/50. 1/60, and so on. And this can seriously annoy the cameraman.

Regarding the frame rate, Canon DSLR can shoot in the modes 24P, 25P, 30P with a resolution of 1080p or 720P. RED can shoot at a speed of up to 120 frames per second in 2K mode with a step change in shooting speed of 1 frame.

It would not have been possible, with the help of the Canon DSLR, as a digital camera, to take a 90-minute film "The Russian Ark" by director Alexander Sokurov with one plan. Cameras Canon DSLR can record only up to 12 minutes of continuous video. This limitation is imposed by the fact that the size of the recorded file can not exceed 4 gigabytes. To continue recording, you need to restart and this can be an unpleasant problem at the most inopportune moment.

And do not forget that Canon DSLR is still a traditional SLR camera, with great opportunities for photography. But shooting a video with such a camera is difficult because of its ergonomic features. The camera is too flexible during shooting from the hands and therefore it is necessary to use additional means, stabilizing movements.

And, in the end, the presence of a histogram monitor would greatly facilitate the installation of the correct exposure.

But enough criticism, it's not for nothing that this series of cameras is so popular not only with photographers ... There is also a positive.

Undoubtedly, the low cost of the device opened a new competitive market for consumers with low incomes: amateurs, students, beginning professionals, freelancers, weddings. Now with a small budget, you can try to enter the world of filmmaking. So in due time RED pressed the market of such a monster of digital cinema as Sony with exceptionally low price.

5D Mark II has a matrix with a size of 36x24 mm, and it is larger than the RED camera. The RED camera has a Monsters matrix with dimensions of 24.4 × 13.7 mm. This approximately corresponds to the magnitude of the matrix of the Canon 7D - 22.2 × 14.8. But in 2010, RED introduced a new generation of Mysterium X matrices for shooting as a 6K with a size of 30.0 × 15.0 mm.

Canon DSLR cameras can shoot at surprisingly low illumination with acceptable image quality. Although the new RED Mysterium X matrix also has very low noise in poor lighting conditions.

Obviously, the dimensions and weight of Canon DSLR cameras favorably distinguish them from any digital cameras. Accordingly, you can use lightweight and cheaper accessories: a tripod, flu, etc. Monoblock camera RED without strapping weighs about 3.5 kg, against the camera Canon 7D - 820 grams.

And one of the most remarkable qualities of the Canon DSLR camera is efficiency. The camera is almost always ready for use, quick replacement of the battery, fast import of the material for installation. Preparing to work the familiar in our understanding of a digital movie camera will take a lot of time, and hardly, you want to use it for rapid shooting. But the producers of RED promise to achieve this in the next generation of cameras.

Thus, analyzing the Pros and Cons may create the impression that SLR cameras are still more cameras than movie cameras. And indeed it is. But the indefatigable desire to shoot a movie for little money spodvignulo many enthusiasts, programmers, manufacturers of equipment on the steps that forced the cameras DSLR to breathe in the back of digital cameras.

Despite the fact that the prices for Canon SLRs are relatively low, about $ 2500 for a 5D Mark II camera, $ 1600 for 7D and only $ 800 for 550D for an additional body kit will have to fork out.

First of all, the so-called Rod system will be needed. The system is built on the basis of two carriers of 15 mm pipes and can have different component components. First of all, this is a platform for installing a camera, which is fixed to a 15 mm Rod adapter, which in due time can be installed, for example, on a Sony VST-14 stand. On the tubes or bars, you should install the left and right handles, which must move independently along the axis for a comfortable arrangement. It is also worthwhile to install the upper handle, for example, using a flexible attachment and a shoulder stop. As a result, we get something similar to the photo (option 1). Such a system will cost about $ 1000, but it will only support the camera, and for filming it will take a little more.

It is convenient to use accessories made by the company RedRockmicro, which produces almost a complete set of accessories for SLR cameras.

First you need to install a focus adjustment device. This will allow you to comfortably rotate the focus barrel at a slower speed and evenly. The focus adjustment device is preferably equipped with remote control. You can use microFollowFocus v2 with an additional handle or remote control microWhips ($ 900 set).

For shooting from the shoulder should be sure to get not only the shoulder stop, but also a counterbalance in the form of additional loads ($ 160), otherwise shooting will not be to you in joy.

Accordingly, to control the adjustment of the focus, you must have a monitor. It is desirable that it has an HDMI input. Recently such models have appeared at several manufacturers. American company Marshall Electronics produces an advanced 7-inch model V-LCD70XP-HDMI for about $ 1000. A slightly simpler and cheaper monitor for DSLR cameras is made by the Chinese company SWIT. This is also a 7-inch S-1070C HDMI model, which costs less than $ 900.

Adding additional elements, we will get a more perfect system (option 2), which will cost a little more, about $ 3500.

Finally, consider the third most complete version. Fighting parasitic lights, working simultaneously with several filters in any case will lead the user of the DSLR camera to the need to acquire a compendium. The company RedRockmicro also produces compendiums that have professional capabilities and budget value, for example, Deluxe Bundle worth $ 1000. Filters are not included in the compendium. Starter set of three filters: two neutral and one polarization will cost an additional $ 500.

All my friends who vied with each other tell how it would be good to shoot a movie on DSLR cameras, my replies about the difficulties connected with the sound of the chorus were answered: we will write to an external audio recorder. May be. But do not forget: there is no time code in the device. And if on small volumes it is possible and to train once again over sound reduction, then on the stream you will get tired. Therefore, it would be better to get a small portable audio mixer. Ideally, a 3-channel Shure FP-33 would cost about $ 2,500. But in fact, any portable audio mixer, such as the compact portable three-channel MX54, manufactured by Rolls or the 302th model from Sound Device, will be enough. The power of these mixers can be made from batteries. They have outputs of separate phantom power disconnection for three balanced microphone inputs. And they can connect to Canon DSLR cameras via mini-jack.

There is one more element, which, fortunately, is still available for free, but is absolutely necessary. This software Magic Lantern, which can be installed on the camera 5D Mark II. This program is not a Canon product and was created by Trammell Hudson specifically to solve many problems associated with the use of Canon's DSLR cameras as a digital camera. Especially it concerns the addition of functions related to the processing of sound. The software allows you to disable the AGC sound and set the sound level meter directly on the camera's viewfinder. To determine the video parameters, a histogram, "zebra" and cropping markers were added. In addition, 5D Mark II does not know how to shoot in the movie format 24P. This function appeared with the Magic Lantern program, starting from version 2.0.4. By the way Canon came to his senses and also released a new firmware for 5D Mark II, allowing to shoot in 24P. It is available for download on the official website from June 01, 2010.

Thus, by adding and improving the Canon DSLR camera, you can approximate it by many qualities to a real digital camera. Of course, apart from all this, you will need a tripod, light, ... but this is another story.

In the final paragraph, you can draw a line. New cameras Canon DSLR have a large matrix, 35-mm lens, and can shoot in the filming mode 24P.S using this device you can create excellent, with real kinokachestvom plots. In a sense, this is really a digital camera for a budget solution, but in no case can it be considered a replacement for a full-fledged film camera and even more a "RED killer", as these mirror digital cameras have been called popularly by people. The RED camera was originally developed as a digital camera, Canon DSLR as a camera for photography, and you should not expect from it that it is not incorporated by the manufacturer potentially. Professional camera should have professional capabilities for sound, time code, professional video output, professional film lens.

Nevertheless, the market and progress are not standing still, and the time will show when the competition between digital cinema and cameras ends. The collider is already accelerating: photographers are experimenting with movie cameras, and cameramen with cameras. But so far this is just an experiment.

Source www.videoprotest.com