Video rigs for DSLRs frequently cost more than the camera. This rig belongs to video pro, Bill Pryor.
It’s not unusual these days for still photographers and videographers to be using the exact same cameras and lenses. That tempts many still photographers into thinking all they have to do to get great video is flip the selector switch to the little movie camera and fire away. Some of you may have discovered that does not yield particularly good video.
Many photographers, particularly photojournalists or PJs, are getting more requests for video along with the still pictures and many have switched over to shooting video exclusively because there’s more work.
As you launch into DSLR video, there are a few things to keep in mind. You have to know what the final video will be used for and who is going to be doing the editing. Video customers will frequently tell you exactly how they want video shot, others will expect you to know.
30 fps vs 24 fps
The most shocking ignorance I see in journals and blogs is suggestion that 30 fps is “better” than 24 fps. If anything it’s just the opposite, but it really depends on the final use of the video. If you are going to be editing all the video and the final product is for web delivery, then 30 fps is fine. But if the video is going to a film or documentary, then you’ll want to shoot exclusively at 24 fps unless the client specifically requests another frame rate.
When DSLRs first got video capability, 30 fps was the only option on both Nikon and Canon cameras. Filmmakers flipped out and asked Canon for 24 fps so the footage would be compatible with editing timelines for film. When Canon didn’t respond fast enough the programmers behind Magic Lantern developed a firmware hack that allowed video at the slower frame rate. Canon delivered native 24 fps the very next generation, but it took Nikon years to finally catch on to 24p.
The reason behind that is the conversion between frame rates. While 24 fps footage can be rendered at 30 fps and still look good, getting 30 fps to render out on a 24p timeline without serious artifacts is almost impossible. Products like Twixtor can help, but the results are still less than satisfying.
Limited Shutter Speeds
When shooting video at 24 fps, you’ll also be limited to what shutter speeds you have available. To avoid quirky motion artifacts, you are limited to 1/50th of a second for shutter speed. That means outside on a sunny day, you’re either going to need a set of ND filters, or you can shoot at f/22, regardless of the DoF you need.
Video Presets
If you shoot and work with RAW images as a still photographer, you’ve may have forgotten about image presets, which only effect the compressed image formats. Video, unfortunately, is a compressed format and video presets will make a big difference in the final product.
If you’ve ever seen the unedited video out of professional DSLR video shooters, you might think it looks soft and slightly over-exposed. That’s because video color is graded in post, the last step in a large production and video color editing is a high-paying specialty field.
Many video shooters are using custom presets from companies like Technicolor and many clients have custom presets they will expect you to use.
Like anything else involving your DSLR, there’s more to it than flipping a switch and pushing a button. You’ll have to learn how to shoot video and it’s as hard as learning to shoot good stills.
Related Posts
Posted in 
Tags: 
