Motion cont.

Photographic, Inc.

Bear Images

There’s a time and place for all tools, and the infamous DSLR is certainly no exception. The evolution of these cameras over the last few years has been impressive and watching the full-frame options become more affordable has offered photographers some incredible tools. For ultimate image quality we still whole-heartedly recommend medium format digital backs, but in all reality, those cameras aren’t always the best tool for the job.

Especially since the advent of HD video being incorporated into some of the modern DSLRs, these workhorse cameras have found their way into more shooting scenarios than ever before. In our opinion, Canon has remained the leader of the pack for quite a while, and offer solutions for the budget-conscious entry level shooter all the way up to the working professional. Of course then there is the infamous 5D MKII, which has taken the industry by storm. With a price point that’s hard to beat, plenty of resolution for still images, great low-light performance, and full 1080p video capture, it’s truly in a class of it’s own.

I think we’ve all been using DSLRs long enough to skip over the ins and outs of which camera to buy and what lenses to pair it with, but if you’d like to discuss those things, we’d naturally be happy to do so. Instead it’s the “video revolution” that commands most of the interest these days and has quite the cloud of confusion surrounding it. More than ever, still shooters are venturing into the world of video, and while we bring a certain skill set and “eye” to the video realm, we also have a thing or two to learn.

Frame rates, lighting, camera support, focusing, and even the elusive audio have all challenged us to figure out the best methods for capturing smooth and professional video. Many of us have been using strobe lighting for years, but for shooting video, we need to transition to more continuous light sources, so which one is best? The answer to that depends on what you’re doing, and maybe on what you already own. If you already have Profoto or Broncolor lighting, there are continuous solutions which take advantage of many of the light shapers you’re already using. Kobold HMIs from Broncolor also utilize the line up of Broncolor accessories by way of an adapter ring, so you’re investment in new lighting is minimized and you can continue lighting in your own style, the way you always have.

When it comes to camera support, it’s a whole new world as well. Keeping the camera steady for a

still image is relatively easy, but keeping steady and creating smooth camera movements can be a real challenge. Video-specific fluid heads can help with simple pans and tilts, or a Steadicam will get you really mobile for those “floating” shots. Focusing, especially when the camera is moving, is perhaps the biggest obstacle of all. With very few solutions out there for maintaining accurate focus simultaneously with smooth camera movements, you may need to plan your shots accordingly. A jib or camera crane mated with a gear driven follow focus can be one alternative, or simply shooting wide angle with plenty of depth of field can be another.

Either way, considering that so far none of the HDSLRs support autofocus during video recording, manually focusing the lens is the only option. If you’ve ever tried manually focusing an autofocus lens, you know it can be difficult, especially for those precise selective focus shots. Zeiss offers a very suitable line up of manual focus lenses which have an ultra-smooth focus mechanism and a tactile feel that’s reminiscent of the days of old. The extremely long barrel rotation is hugely advantageous for critical focusing as you can smoothly and easily change focus with great precision. They also have almost perfectly round apertures, so the bokeh (out of focus area) is very smooth and has a somewhat vintage feel.

Another part of the focusing challenge is actually seeing what you’re focusing on. Using the rear LCD screen to focus can be pretty useful if you use the magnification tools built into the camera, but for a closer view you can try the Hoodman HoodLoupe in combination with the Hood Crane (available together as the “Cinema Kit Pro”). These can be very nice to have especially for shooting on the run, but when you’re stationary and have the ability to use an external monitor, mounting a screen like the Marshall VLCD70 is a very nice addition. With built-in tools like focus mask and exposure warnings, it’s easy to see what you’re doing at a glance.

When it comes to recording audio, there’s one simple rule: get it right...

However, for more professional audio quality, an external microphone or even a completely separate external recording device is recommended. Sennheiser makes very nice quality wireless lavalier mics that plug directly into the Canons via a miniphone jack. Alternatively, you can record the audio separately, but you’ll need to sync it up with the footage in post.

If you are shooting video with your DSLR and need help figuring out the best solutions for your shooting needs and style, give us a call at Bear Images.. we’ll be glad to help!

Bear Images Photographic, Inc. • San Francisco, CA. 94107 • 650-321-2327 • support@bearimages.com

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