The DSLR Filmmaker's Handbook. Andersson Barry

      Now that you know what makes one camera different from another, let’s dig into what camera is the best fit for you, what gear is available to help shoot your next film, and our recommendations for the equipment you need for your next project.

      What Camera Is Right for You?

      Choosing a camera is a bit overwhelming. Several manufacturers make DSLR cameras, and the prices for cameras vary from $700 to $800 all the way north of $5,000 just for the body. Of course, features vary from camera to camera, even from the same manufacturer.

      As you begin the decision-making process, it would be beneficial for you to physically handle as many different cameras as you can after you narrow down what cameras might work best for you. It is also beneficial to look at examples of footage produced by a variety of DSLR cameras. Video from DSLR cameras is often referred to in vague terms like “the cinematic look” or the “incredible ability to handle light.” These descriptions are compelling, but in the end picking the camera that is able to produce footage that you appreciate is the goal, so go look at footage!

      As you choose your camera, you’ll have other considerations, too, such as the particular parameters that are imperative to a shoot’s success. Budget (either the overall budget or the camera-specific budget) for a lens mount that is compatible with lenses you already own. If you are coming from a still photography background, being able to use your available still lenses should not be taken lightly. This may steer you to a camera model that matches your lenses or, if your lenses can be used with an adapter, that frees you to choose any DSLR camera that will accept an adapter with your brand of lenses.

      The Canon EOS mount and the Sony E Mount are the two most flexible lens mounts currently available. They allow more adapters and lenses to be mounted to cameras than any others on the market today. Just a few key features will help you focus on what cameras to choose: sensor size, resolution, frame rates, lens mount, and ISO sensitivity. These key features will determine how you pick your camera and help you know exactly how your camera will handle various shooting scenarios.

      It is impossible for us to cover every possible use for each camera and recommend just one type of camera. So, the best way to decide is to look at what options you need or want on your camera and find a model with those options that is closest to your budget. Refer to our chart in Chapter 1, “Fundamentals of DSLR Filmmaking,” for a list of features available on many of the DSLR cameras.

       Decisions in Choosing a Camera

      In terms of camera choice, you have a few major decisions to make:

      • What sensor size do you want?

      • What frame rates do you want to shoot at, and can your camera handle those frame rates?

      • What ISO do you need to be able to work with?

      • What resolution do you need to shoot? Is 1080p footage OK or do you need 2K or 4K video?

      • What lens mount do you want on your camera? This impacts what lenses you can use – either older vintage lenses or new lenses.

       Sensor Size

      Which sensor is best for you? As we described in Chapter 1, there are about five different major sensor sizes for most DSLR cameras. They range from full-frame sensors all the way down to micro 4/3 sensors. Each different sensor size has pros and cons of working with it. APS-C sensors are close in size to the 35 mm film used in movies and TV shows. A full-frame sensor is more like a VistaVision film frame and has a much shallower depth of field and better light sensitivity (in other words, you need less light and will get a less-noisy image). In general, the smaller the sensor size, the cheaper the camera. If you are on a tight budget, then paying attention to sensor size may lead to a price point that is perfect for you.

      Large, full-frame sensors have several benefits. The potential shallow depth of field allows for a varied range of cinematic shots. One key element of cinematic shots is that they feel like shots you would see in a movie theater. In most movies, there is a very directed focus that helps lead your eyes to something in the frame. Out-of-focus areas of a given shot can be part of the deliberate artistic look for a given scene. Cinematic shots are not just shots that have a shallow depth of field, but they also selectively focus on what the filmmaker wants the audience to see in the frame and allowing for greater creativity in the filming process. The large, full-frame sensor allows for beautiful selective-focus shots that have a shallow depth of field in close-ups under low-light conditions. Obviously, the full-frame sensor is not limited to just the shallow depth of field and will allow for wide depth of field in medium and wide shots, but this depth-of-field capability makes it unique in the DSLR video world.

      Additionally, large, full-frame sensors often have pixels that are larger than pixels on smaller sensors. A larger sensor size allows for larger pixels, but it still maintains a tight pixel density. Pixels that are tightly spaced can actually increase the noise of an image; however, these larger pixels are better able to gather light and often handle contrast better.

      For the most desirable video image, our recommendation is a full-frame sensor. More full-frame sensor cameras are becoming available all the time. A general rule is that the bigger the sensor, the better the image quality overall. Another benefit of full-frame sensors is that you can use standard 35 mm still lenses and there is no crop factor. So, if you have a choice when buying your camera, we recommend that you buy a full-frame sensor.

      Still, there are advantages to cameras with smaller sensors in many situations. In general, they are cheaper and sometimes can be adapted to other lenses more easily. Some lenses have a large rear element or an area at the rear of the lens that sticks out a bit; this can run into the mirror on the Canon 5D Mark III but might not hit the mirror on a Canon 70D or Canon T5i due to the smaller sensor size. In addition, some older Nikkor lenses have a metal tab that sticks out and will cause problems on the 5D Mark III if not removed. Do some research if your lens has any elements that look like they may come close to hitting the mirror. Another advantage to smaller sensors, such as the APS-C, is that they are closer in size to a 35 mm motion-film frame. If you want to shoot with cinema film lenses, some old cinema lenses can be inexpensive when compared to cinema lenses designed for a full-frame sensor. Also, if you really want to use standard cinema lenses, you will be dealing with PL mount lenses. To use PL mount lenses on a DSLR camera, you need to convert the camera to have a PL mount (which is not inexpensive). However, a converted PL mount 7D or T5i has major advantages over a converted 5D Mark III. Since PL mount lenses were designed to have a field of view to fill a 35 mm motion-picture film frame, this means the full range of PL lenses will work on a converted 7D or T5i. If you use some of the wider-angle PL mount lenses on a converted 5D Mark III, you will get major vignetting because the lens was not designed to fill a frame that large.

      If budget considerations make expensive rigs out of the question for you, the size and weight of the camera are important factors, and the smaller sensor cameras may be a good choice.

       Frame Rates

      What frame rates do you want to work with? This is somewhat easy to answer. If you plan on shooting a lot of slow motion, only a few DSLR cameras have that option.

      You can use software programs to convert your footage into slow motion. We cover this more in Chapter 10, “Converting and Editing Your Footage.”

      If you are shooting a movie or shooting for television and don’t require slow motion, then you can choose from almost any DSLR camera because they now support the major standard frame rates (24, 25, 29.97, and 30 fps).

      The golden standard for what is known in the video world as the “film look” is 24 fps, because motion-picture film uses this rate. The look of a movie at the movie theater or on DVD is shaped by the 24 fps frame rate of the image; therefore we perceive 24 fps to be more “cinematic.” Most DSLR cameras now natively shoot in 24 fps, so your choice in cameras has grown since they first launched. However, not all cameras have the 24 fps option, so if you want a look that is closest to film, this is something you need to double-check.

      If you are doing production in Europe or somewhere that your final output