When I purchased the Canon T2i over the summer, I immediately went out, shot some test footage, and posted the results (along with my initial impressions) here on the blog. Now that I have had an opportunity to work with the camera on client projects, I wanted to come back and post a follow-up article on what it’s like working with a DSLR when shooting video.
One of the first things I noticed is that if you want to shoot hand-held, it’s a good idea to invest in a lens with image stabilization. Or, you can invest in a DSLR rig that offers camera support. I did some hand-held work with a standard 50mm prime and it was almost impossible to eliminate camera shake. If you have a lens that does not feature image stabilization, then I recommend using a tripod as much as possible.
If you need to shoot hand-held and don’t have image stabilization on your lens, I advise moving closer to your subject. Any time you zoom in on your subject from a distance, you increase the level of visible camera shake in your image. However, by physically moving closer to the subject you can keep your lens set at its widest angle and get some very steady hand-held shots.
A major drawback to the T2i is that there is no “time remaining” indicator as you are shooting. It’s very possible to run out of space on your memory card without any kind of warning. This is bad for anyone shooting events or documentaries.
There is no way to monitor audio while recording. There are no VU meters and there is no headphone jack. If all you need is some great looking b-roll, then you’ll be fine. However, if audio is crucial, then you will need to record to an external audio device where you can properly monitor the levels.
DSLR’s allow cinematographers to capture incredible HD images and the affordability of the cameras mean that these tools are here to stay. However, like any tool, they do have their limitations. So, adaptation is the name of the game. However, accessories like camera support systems, external monitors, and lens packages provide some excellent work-arounds.
Sometimes you can’t appreciate how far you’ve come until you take a look at the road behind you. With the rapid advancements in film and video technology, it’s sometimes hard to believe that the motion picture industry is barely over 100 years old. I really enjoy studying history, including film history. One of the items in my collection is Edison – The Invention of the Movies (1891-1918), a DVD set of early short films. To me, it’s fascinating to watch these motion pictures to get a glimpse of people and places long since gone. Thanks to film, they are preserved forever, including the people in this 1922 Kodachrome film test. Kodachrome was Kodak’s long-standing brand of color reversal film, and (as the video’s opening title says) this footage is some of the earliest color film you will see.
I’m excited to say that we’ve added another camera to our video arsenal. We recently acquired the Canon T2i, a great DSLR that shoots full frame 1920x1080p HD video in variable frame rates. Last weekend I spent some time shooting test footage, so I could get to know the camera a little better. Then I brought the raw footage into my editing system to see if I could establish a good workflow. Below are three clips I shot over the weekend. Here are some of my first impressions with the camera:
The shallow depth of field that you can get with these cameras is pretty remarkable.
Boosting the ISO will always add more grain to your shot. If you are shooting indoors and you don’t want a lot of grain in your image, keep the ISO as low as you can and add more light to your scene.
It’s a good idea to invest in some neutral density filters for exterior shooting. Using ND filters will allow you to keep your shutter speed at a slower setting. Increasing the shutter speed will cause your video to strobe more, creating a very staccato feel. Of course, this might be just the effect you are looking for.
Unless you are using Premiere Pro CS5, you will probably need to use some intermediate codec to convert the native MOV files into a format that your NLE can work with.
The T2i provides manual control over exposure and focus, and offers three different HD movie modes – 1080p/30fps, 1080p/24fps, and 720p/60fps. There doesn’t seem to be any manual control over white balance, but if you know of a way to change it, let me know.
Establishing rock-solid focus marks for your scene will be difficult without adding some kind of follow-focus system on to your camera. It’s not impossible, but it will take some rehearsing.
Make sure you purchase SDHC cards with fast transfer speeds. That will ensure better recording and better playback.
I love the LCD screen. Very large, very clear.
The ergonomics of hand-holding the camera isn’t as awkward as some people make it out to be. Is it different? Yes, but you can easily adapt.
The image stabilization in both the kit 18-55mm lens and the 50-250mm lens seem to respond very well. I didn’t use a tripod on any of my test shoots and was pleased with how the IS in each lens reduced hand shake.
Again, these are simply my initial impressions and observations. I’m sure I will post more as I start using the camera on client projects.
I received an email a few days ago from an individual interested in purchasing a large quantity of videotape. I quickly scanned the email. It was odd, but I just assumed he made an honest mistake. After all, we are a video production company, not a supplier. I responded and recommended a reputable supplier that I have used several times before.
After sending the email, I looked at his original message and read it more carefully. The more I read, the more suspicious it sounded. First, he introduces the email by giving his name, but does not tell me who he works for and what position he holds. Second, he doesn’t seem to know whether I am a video production company or an equipment supplier. If he obtained my email address from my website, then he would easily see that Parc Entertainment is a video production company. Third, if he is a professional in the production industry (as he indicates both from the content of his email and his email address) then surely he would be aware of the production supply businesses that are out there. And finally, there’s something about the way the message reads that throws up a red flag. The grammar isn’t quite right and some words are misspelled. Here’s the original message I received:
GOOD DAY,
I Am …,I Want to Order The Product Bellow.
SONY DVCAM TAPE PDV184N …………………….
165UNITS
I Will Like You To Get Back To Me Now With The Total Cost Plus Sales Tax.I Will Forward My (Visa Card) or (Master Card) Details For Payment As Soon As You Email Me Quote..
If you don’t have the tapes or you are a video production store,Videographers or photgraphers and you have a supplier that you can help us place a special order overnight and we can offer $3 on each unit for service render fee and make payment upfront before you place the order.We want your store to help us order from any supplier you know because we are busy in our production film field.
Get Back To Me Soonest on email.
After sending my response, recommending a media supplier, I received this email…
Hi Clint,Thanks for your email.I want to know if you can help us place a special order for 165units of sony tapes and we will make payment upfront plus tax and give you extra $3 on each unit for service render fee.Pls render us the favour because we are kinda busy on a film location field.
This second message deepened my suspicions. First, in my experiences in production, I have never heard someone from the industry refer to the set as a “film location field.” More common expressions are “on set,” or “on location,” Second, why would someone in the production industry insist on paying extra to purchase video tape through a third-party? In my response to this email, I again recommended a supplier that I have used before and stressed the fact that he would save both time and money by going directly to this particular company to purchase tape. Here is the third message I received from him…
Clint,I know it will save me money but i will appreciate if you can get us the units through your company and we will keep you in our record for future business on video production contract.
In my final message, I politely thanked him for his willingness to keep my company in mind for future reference, but would be unable to help him with his request. I found it odd at how determined he was to purchase tapes through me, even after I mentioned how it would save him money by going to a supplier directly. I never heard back from him after that.
So, what is your verdict? Do you believe this to be a scam?
Understanding as much as possible about the physics of light will greatly improve your skills as a cinematographer. I recommend reading Placing Shadowsas a good reference. For my location work, I normally use an Arri kit consisting of one (1) 1000 watt lamp with chimera soft box, two (2) 650 watt lamps, and one (1) 350 watt lamp. The kit comes with stands, scrims, gels, and diffusion; each accessory giving me the flexibility to manipulate the light.
The Arri kit provides great latitude in an easy-to-transport package. Recently I have also been utilizing china balls while on set. China balls are a great addition to your lighting package and they have several advantages. However, consideration must be given to the type of look you want to achieve before you decide to use them, because china balls aren’t right for every occasion.
The first thing to consider is the fact that the light coming from a china ball is difficult to trim. You’re dealing with an even and diffused light source, so you will need flags and c-stands to control how the light spills onto the scene.
Second, if you want to utilize a low-key lighting approach to your set, china balls are probably not the way to go. Since the light output is even, the contrast of the subject is reduced.
Third, china balls are difficult to gel. You can always purchase daylight balanced bulbs or tungsten bulbs to match the color temperature of your scene, but trying to color correct with gel is more challenging than using lamps with barn doors.
With these considerations in mind, china balls have some great advantages:
Light Output
China balls give you a nice, soft, diffused light source with little effort. If you want to achieve the same look with a lamp from an Arri kit, you would have to add a chimera, or diffusion, add some scrims, adjust the lens, etc. With a china ball, you can simply put it on the stand and plug it in.
Quick & Efficient
China balls are quick and easy to set up and use lower wattage bulbs. If you need to shoot a number of on-camera interviews during a grueling run-and-gun kind of day, a china ball is a great asset.
Comfortable
Since China balls use lower wattage bulbs, they don’t give off nearly as much heat as other tungsten lamps. Therefore, your talent can work under them for longer periods of time without getting too hot.
Affordable
Not everyone can invest in a Kino-Flo or Arri kit, but China balls are great because of their pricing and availability. No-budget filmmakers can grab a few of these lights, get out with their cameras and their friends, and shoot some great looking footage.
, a DVD set of early short films. To me, it’s fascinating to watch these motion pictures to get a glimpse of people and places long since gone. Thanks to film, they are preserved forever, including the people in this 1922 Kodachrome film test. ![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_b.png?x-id=3af07c38-eea1-4a43-bf4b-6ece714f3718)
Understanding as much as possible about the physics of light will greatly improve your skills as a cinematographer. I recommend reading 
as a good reference. For my location work, I normally use an Arri kit consisting of one (1) 1000 watt lamp with 
