The H(d)SLR Evolution – Beyond the Stills and (e)Motion

I was very excited with the announcements of the first HDSLRs nearly a year and a half ago. The promise of being able to capture some quick video clips while shooting stills was so alluring. During this period I have been shooting still and motion, I have not only shot clips as part of still projects, but ventured beyond. I asked myself if I was just getting caught up in the film making juggernaut or was there something else going on. After a lot of examination, I concluded that my thought processes and use of stills and motion was a natural evolution, which happens with availability, exposure and comfort. Do I consider myself a film maker or aspire to be one? Not by any stretch of the imagination, but I do find myself thinking about my work differently: I now consider motion capture as a part of my normal shooting options. Motion capture is also something clients looking for stills do not even know they want–until they see it.

While HD video is a feature which I showing up on a growing number of new DSLRs, it is still in its infancy and therein lies the problem: Whose baby is it? Is it for the enthusiast who is buying the camera primarily for still capability to capture personal images? The inclusion of HD video on entry and some mid level products from Canon, Nikon, Panasonic, and Pentax, would suggest that it is. Is it for the budding film maker? The changes that Canon in particular has made since the introduction of the 5D MarkII in frame rates and controls, says it is. The huge number of accessories available from manufacturers to make Canon, Panasonic, and Nikon HDSLR offerings more “movie maker” friendly, suggest it too.
And of course, the inclusion of video capture on the “professional” photojournalist and sports big guns from the big two DSLR makers suggest that the motion capture has professional overtone for even these primarily still shooters. It seems that the HDSLR is everyone’s baby!

The challenge for some HDSLR users is figuring out how to use this capability without taxing their budgets and intestinal fortitude as it relates to getting their motion work from the camera to the Web or small screen. This may describe the people who want to use the video capability without having to get into the intricacies of codec and wrappers or can warrant/justifying spending a “king’s ransom” to make their camera more video friendly. The good news is that they do not have to if they choose not to. They need to be thoughtful with respect to the equipment and software they are considering. They also need to remember before they start shooting that motion capture is about the visual story and sound.

Film makers and aspiring film makers have a different set of challenges. They understand the significance of the story and sound. The film maker is often working with other people with specific expertise and defined roles in the movie making process. They need to make a tool with drawbacks and limitations work for them. Obviously, the limitations pale in comparison to the benefits derived from the larger chip and greater depth of field control that HDSLRs and the lens options offer at a fraction of the cost of traditional movie cameras. How important are film makers to the HDSLR evolution? They are very important, and Canon, cites film makers’ desires and needs as a factor in changes and further development and refinement of their HDSLR offerings.

While the film maker is concerned about camera stabilization, more often than not, the concern is over stabilizing more than just the camera. A host of other accessories and equipment is often used to optimize their capture work. The need to attach sound equipment, focus follows, matte boxes, and monitors among other items. The film maker also has a different set of video editing needs and will usually require substantially more expensive and/or involved software solutions. The use of separate recording devices can add another level of complexity to after-capture work flow as the footage and sound must be synced, and multiple tracks of sound may be needed. The advantage the film maker picking up a HDSLR has over other users is a better understanding of its limitations, as well as what things they will need to make it work for them.

For the camera makers all of this means that they have a lot of markets to address and try to keep happy. A few years ago, the concerns were over dynamic range, improved autofocus, better in-camera white balance, and other things relevant to still capture. Today, in addition to having to address issues related to and improving still capture, the DSLR manufacturers have to address issues and enhancements related to motion capture. It will be interesting to see how everyone’s baby grows up.

To view the current issue of the guide, "Outfitting Your H(d)SLR" click on the embedded magazine below and enjoy checking out the H(d)SLR friendly gear.