Tips and Thoughts on Switching from Pro Video Gear to Video DSLR
If you're like me, you've looked on with envy at the videos created by Video DSLR shooters and have at least thought about leaving your old gear behind for this new world of "better", cheaper, faster and more cinematic cameras. But before you make that leap here are a few things you will need to keep in mind:
1) Slow it Down
The world of video DSLRs practically requires you to "slow your roll" down during production. You'll need extra time to set up your gear, check focus and to deal with the sound issues, particularly if you are using double system sound like most of us will be for the time being. For myself, I will be reviewing shots and sound right there in camera much more than I typically do now, the nightmare scenario is to get back from your filming location only to discover a terrible lighting, focus or sound problem...oh NO!
2) Solo Plus One For Sound
So far I've shot the vast majority of my stuff as a one man crew but also relying on client staff to pitch in a little here and there too. With a Video DSLR production package that may not be as feasible moving forward. For instance, you'd really want someone to work on sound with you, their job would be to make sure you are capturing great sound on every take and to start and stop the recorder for you.
Without that person you will have to start the camera capturing video then separately start up your external recorder (that's two button pushes on my Zoom H4n) and finally you will need to remember to stop both the camera and the sound recorder at the end of the take. Sure, it doesn't sound like a lot of work but multiply that by the number of shots you typically take for a project (both the good and bad takes) and you begin to get an idea.
I used to do some acting, background and stand-in work in film and TV productions in Los Angeles and I still remember how the 2nd Assistant Director would call out a string of coordinating instructions for every shot: "Picture is up, quiet please. Roll sound. Roll Camera" followed by the sound recordist calling out "Speed" a few seconds later which ques the clapper guy or gal to step into the scene with the clapper board. It's all carefully choreographed to make sure everything that needs to happen on set does.
I think there's a lot for us to learn from the big-time movie production guys. In fact, I would ideally like to have a crew of three plus me. Camera operator/DP, sound recordist, PA and myself. Budget wise that's an expense my typical clients can't pay for right now but I am hoping that will change.
3) The Clapper and Pleasing The Clients
It may sound a bit shallow but part of what clients are paying for is the experience or "glamour" of being involved in a digital film project. Perception plays a large role. Showing up on set with a Video DSLR that looks like the camera the client has stashed in their closet at home may raise a few eyebrows and will take some careful explaining.
My plan is to, as quickly as possible, add things like a rail support system, matte box, follow focus and external monitor to my rig not just because they make production life faster and better but also just for image. I've heard countless stories about how excited clients are to simply be shown how to use the clapper. So you are killing two birds with one stone, you need that loud clapping noise to sync your audio later but it also gives the client a little extra "show" for their money.
4) Jobs You Won't Get
Not having a traditional video camera in your production bag means there will be some jobs you now can't compete for, mainly event type projects where you are expected to film for 30 minutes or longer in one go. For the time being, video DSLRs are limited to filming about 12 minutes and then you have to stop and restart the camera. That's due to file size limitations, heat buildup in the camera and, as rumor has it, extra fees the camera manufacturer would have to pay if they allowed you to have longer takes.
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Reader Comments (2)
Great article!
Regarding point 4, you can still get those kind of 'event coverage' jobs. The secret is to use a cheap HD camcorder (say a Vixia) that you can 'cut to' in edition for those seconds where you don't have DSLR footage.
Hi Jay, thanks for posting.
Yes, you have a point there. I'd be concerned that the footage wouldn't match up well however in editing...I have heard recently of DSLR producers filming interviews with two DSLRs running which might be another way...it could be a bit of pain to make sure that every 11-12 minutes you turn each camera quickly on and off in order not to run into the file size/duration limit built into these cameras (for now)
Also there would be the overheating issue to be at least aware of, still what you suggest is a workaround.