Video DSLR FAQ (Canon APS-C Edition)

M. Gilden

M. Gilden

Canon DSLR Moderator
Welcome to the DVXUser Canon DSLR section!
If you're new to the whole scene, this thread contains some basic info and advice to help get you started.

I hope to keep this thread updated as sort of a starting point for new users. So please feel free to post any corrections/suggestions/etc, and I'll do my best to stay on top of it.

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Can I really replace my full sized video camera with a DSLR?

This is one of the most commonly asked questions.
In many ways, yes you can. However you must remember that these devices weren't designed to be video cameras, and therefore lack some video-centric features that are standard on a camera designed for the task.
Using a DSLR for video has pros and cons and is admittedly not for everyone. Don't buy one and expect the workflow to be exactly the same as your DVX100 or other standard camera- you will likely be disappointed if you do. A video camera is much simpler and easier to use.
That being said, if you understand the limitations of the camera and learn to work around them, you will find the image quality of the larger sensor is quite rewarding and quite possibly worth the hassle. That's why we're here. :thumbsup:

What are the cons of using a Canon DSLR (vs a standard pro video camera)

Despite the dramatic image quality and super low price point, here are several things to be aware of before purchasing a Canon DSLR:
- Lack of a high quality internal audio system (More on that here: http://www.dvxuser.com/V6/showthread.php?240822-The-Canon-DSLR-Audio-thread)
- H.264 codec is very compressed and lacks some of the color definition of more robust HD codecs
- Limited recording time / File size limitation of 4GB at a time (roughly 13min of 1080p)
- No live viewfinder (optical viewer is disabled during video mode)
- Small and light means more shakes/jitters when handheld
- CMOS sensor can lead to rolling shutter / jello effect on fast motion
- Moire and Aliasing may appear due to sensor and codec inefficiencies

There are ways to work around almost all of these problems if you prepare for it and work accordingly, however that is beyond the scope of this FAQ.

Which Canon DSLR is right for me?

This is probably the other most commonly asked question from new users. Short answer, depends- they each have unique abilities, pros and cons.
I'm going to go into more detail in a separate thread, but in a nutshell:
The 7D was the first to offer 24p (5D came first, but didn't offer the native film speed until an update), and is believed to have started the revolution in DSLR for pro video. Many people look at this one first because it is a recognized name ("Hey, look, its the camera that they used in Black Swan!") and may help with some street cred. However all of these APS-C sized sensor cameras have roughly identical image quality. Sadly, there isn't any one camera that is "better" in all ways than the others. So it all comes down to the details.

The Rebel line is the cheapest (t2i/t3i), however suffers from cramped button design and ergonomics, as well as lower build quality (more consumer oriented), however only the 60D and t3i have articulating displays and the ability to turn off AGC. At the same time, the rebel t2i may be cheap but is the only one currently with a stable Magic Lantern software suite. That alone can make it a worthy choice.

The 7D is the only option that offers real HDMI out while recording, however the dual chip design overheats more often. However, for a lot less money, the t3i offers the new zoom-video mode as well as the articulating screen previously mentioned.

There are a lot of options to choose from, and you must decide what is more important to you. For a more detailed analysis, look here: http://www.dvxuser.com/V6/showthrea...-APS-C-Camera-models-(7D-vs-T2i-vs-60D-vs-T3i).

What lenses do I need?

Yikes, this is a very passionate subject around here. Everyone has their opinions- but they are just that: Opinions.
It helps to know a bit of photography here. Lenses are rated by distance (how far they zoom), speed/aperture/Fstop (how much light gets in) and sharpness (how hazy or sharp the lens is when properly focused).

A "fast lens" is one with a low aperture number (usually F/2.8 or under), which will give you the nice shallow focus and better low light ability. The focal length distance depends on what kind of shooting you will be doing, however since the APS-C sensor area is a bit cropped, you have to go a little wider than you would on 35mm.
For example, 50mm on a vintage film camera (or full frame digital like the 5D) would be a nice medium portrait lens. However, on our APS-C cameras, it is more like the equivalent of 85mm, which requires you to stand farther away from your subject.
While 28mm would be a decent wide angle on full frame, on our cameras you need to go lower, which is why the kit lens starts around 18mm (that would start to exhibit fisheye effects on a full frame).

The basic understanding around here is that the Kit lens that comes with your camera is extremely limited- that is, the aperture raises (less light) the more you zoom in, and it starts off pretty high to begin with (at its furthest point, you can't go any lower than 5.6, which sort of defeats the look that makes DSLRs great). Since it comes with IS (usually only more expensive glass has that), and is relatively sharp, it makes a decent lens to keep around for outdoor shots. But many people find that they don't use it often enough to keep and recommend getting rid of it ASAP.

So, which lenses can I recommend?
Well, movies are usually shot with film on prime lenses (lenses that are stuck at one distance and don't zoom). Ever notice that feature movies never zoom in? They dolly the camera- zooming is the telltale sign of a camcorder. My personal opinion is that I don't like zooms, and prefer to stick with primes whenever possible. Primes are usually faster as well (often under F/2).
That's not to say zooms aren't handy (3 of my own lenses are zooms, and I've even found a time to use it while shooting- mostly sports oriented), but I'm just putting things into perspective here.

Also, since you don't really make much use of the electronics when filming (autofocus, etc, are all disabled anyway), there is a growing fascination with vintage lenses. The old lenses from yesteryear have solid build quality (metal and glass, all mechanical), and can often yield BEAUTIFUL images for a fraction of the cost of a modern lens. More on that here:
http://www.dvxuser.com/V6/showthread.php?201760-The-Vintage-Lens-Thread

The lenses I see recommended a lot around here are the following:
- Tamron 17-50mm F/2.8 NON VC (if you want a zoom to replace the kit lens, this is an excellent choice- but don't waste your money on the VC version. The non-VC one is sharper)
- Tokina 11-16mm F/2.8 (for those super-wide moments!)
- Canon 50mm F/1.8 (pretty cheap for a modern lens, but has a very small focus ring that is harder to operate when pulling focus)
- Vintage Nikon Nikkor 50mm F/1.4 (one of my personal favorites- cheap and stunning visuals)
- Samyang 85mm F/1.4 (no experience with this personally, but I've heard very good things. Usually sold under other names, such as Vivitar).

Also, if you are interested in adapters for vintage lenses, read my opinion/recommendation here.

These are just commonly recommended lenses, and I am not making any claim to these being what you need. In fact, my personal set of lenses only includes 2 of these, and others that I didn't mention.
You have to figure out what works for you, but at the bare minimum you want your wide area covered (anywhere inside 11-24mm), your mid (30-50mm) and possibly something long range (85mm+, longer if you intend to do nature/wildlife or sports).
Until you have tried some lenses and created an opinion of your own, no one here can tell you what you will be happy with.

And don't forget to read up or ask more detailed questions in the Lens section for the forum:
http://www.dvxuser.com/V6/forumdisplay.php?193-Lens-Discussion

Does Canon make the only video DSLRs?

Oh, heavens no. Most modern DSLR cameras are putting movie mode in, however Canon's was the first to offer modes compatible with industry standards for movies and broadcast (24p, NTSC/PAL, etc), which has put them ahead of the pack. Because it was the first, it is also the most well known and the most common. That means more accessories, and a larger community supporting it (which means more modifications, software suites like Magic Lantern, and workarounds for technical limitations, battery grips, etc).
Meanwhile, there are other options such as the Panasonic GH2, which appears to lack some of the technical problems of Canon's Digic chip (Moire and aliasing, namely), however introduces some new ones (build quality, less native lenses, very difficult to find in stores, non-standard mic jack, etc). Users of both are very happy with them, however since this is the Canon APS-C section of the forum, I'm sticking to these cameras.

Coming soon: Recommended accessories.
 
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Recommended Hardware​
This section is more opinion-based recommendation to help as a starting point for all the "which xyz should I buy" questions.
DO NOT CONSIDER ANY OF THESE TO BE THE BEST OR ONLY OPTION FOR THE JOB, rather these are some of the commonly used choices from the folks in the forum. There may be better options, or options that better suite your taste.

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Audio

The camera's audio system is very limited, which means most folks with DSLR record their audio separately. The most common device for this task is the
Zoom H4N Recorder
Nice and portable, sports XLR inputs and high quality recording, all with the ability to mount to a hotshoe. Sync the sound in post.

If you don't intend to use an external recorder, there are plenty of high quality 3.5mm microphones out there. Here's one of the most commonly recommended ones:
Rode Video Mic PRO
Hotshoe mount, has a +20db gain for circumventing the camera's weak preamp (important if planning to use Magic Lantern), high quality audio. There is also the non-pro version which is cheaper and good for running into a preamp or just directly into the camera as a scratch track / syncing with external.

For a wireless audio (lavs, handheld mics, etc), I personally use and love the
Sennheiser wireless system
Excellent, compact, versatile, and has very decent gain if planning to record directly into camera as well as to an external recorder.

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Stabilization / Rigs

The problem with small cameras is that as soon as you take them off the tripod, you will suddenly have very noticeable shake and jitter in your video. But keeping the camera on a tripod all the time can look boring and static.

One way to take the camera off the tripod and reduce shake is to use a shoulder mounted rig. These can get rather pricey, especially if you want to go all out with rails, accessory arms and other add-ons. Redrock Micro and Zacuto both offer excellent shoulder rig options, however be prepared to spend more than your camera may have cost you.
If you are tight on cash and just want something cheap and simple, there is an alternative often referred to as The Cowboy Studio mount. Many folks have gotten pretty excellent results with this, its cheap (about $30), and even Philip Bloom apparently gives it a thumbs up! Be warned though- this rig can not handle a lot of weight so don't expect to put a lot of add ons and accessories on your camera.

Another option for stabilization gear is the steadicam style glider. There are a variety of these devices on the market that will let you balance the camera on a free-standing gimbal, thereby absorbing the shake of your movements and giving the camera the illusion of "flying" as you move with it. There are a few of them that folks seem happy with, including the Glidecam HD 1000, however I personally don't have much experience with these so I can't vouch for any in particular.

I personally found that using a slider/dolly dramatically improved the look of my shots, and would highly recommend one.
There are some very expensive models to choose from, and some very cheap friction based ones out there. The Konova slider, meanwhile, seems to be a very decent bang-for-your-buck, being a dual bearing slider motion that is normally found on more expensive models.
Konova Slider
I recently picked one of these up, and have been very impressed with it so far.




*Note, this thread is a work in progress, please help me by passing along your recommendations and opinions, and I will try to keep this up to date!
 
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Some good information here, but some quick thoughts:

1. I think your answer to "Can I Replace My Video Camera" (1) discusses the issue well, but could answer it with more finesse. Specifically, I think the answer is something to this effect:

Not Necessarily. It depends on what sort of work & clients you have. In many cases a DSLR can be used to complement a pro video camera and can be a powerful, cost-effective tool in your arsenal. However, DLSRs are not best suited for certain types of work that professional video cameras are designed to handle in stride.

Specifically, ENG, Documentary, and Event Videography frequently benefit from the characteristics of traditional broadcast video cameras.

Using a DSLR for video has pros and cons and is admittedly not for everyone. Don't buy one and expect the workflow to be exactly the same as your DVX100 or other standard camera- you will likely be disappointed if you do. A video camera is much simpler and easier to use.
That being said, if you understand the limitations of the camera and learn to work around them, you'll find that in the right circumstances they can produce amazing images.
 
I hear that, Viddovation, however there are folks who would argue that with you.
I've seen people use them for Event Videography, especially weddings, even without the use of a pro camera to compliment, which I honestly found strange. I'd think you want a rolling camera to capture everything in the background (on a wide angle) while a DSLR is used for close ups, but no. They do it. And they swear by it. Its definitely harder to do, and is a more complex workflow, but not impossible.

Heck, I filmed an hour long lecture using 2 t2i's once, loaded up with Magic Lantern. I set each to restart automatically when the recording limit was reached, and had them each start about a minute apart from each other. That way, I can do a multi-angle shoot, and can switch to the other camera's angle when one has the 3 second gap to restart recording. Audio was synced from an external recorder.

Yes, its crazy, but I didn't have my DVX available at the time, and honestly it worked splendidly. But it requires more time, patience and planning ahead. That's why it is not for everyone. I still have my DVX and there are times I'm glad I do. But I don't think it would be impossible to work without it. Difference of opinion?

I think the next section, namely what the cons are, can give a user a good example of where it would and wouldn't work...
 
You should change the tamron lens recommendation to 17-50 instead of 17-55... also probably specify VC or non-VC, as they are different in both price and image quality.
 
Sticky in the EOS lens section
List of great EOS lenses
http://www.dvxuser.com/V6/showthread.php?201716-List-of-great-EOS-lenses

I'm in the process of updating post one to reflect curent prices at B&H and what lenses are discontinued.

Post 3 (link) of same thread show primes and zooms favored by dvxuser as well as where to buy and an ebay search tool

Post 28 (link) of same thread talks about the usefulness of the rebel kit lens and how beginners actually have a great start with it

Post 29 (link) of same thread talks about being wary of the term 1.6 crop factor and how it is only relevant to still photographers.
It has no, none, nada and zero relevance to filmmaking.
 
Hi M Gilden this is a great thing to have all info in one place for beginners. Although have touched on this later in your summary I feel you you should add the following bullet point to "What are the cons of using a Canon DSLR (vs a standard pro video camera)"

- no rocker zoom and no ability to do a zooming shot. Still lenses cannot physically perform this shot. Cine zoom lenses can mount to canon DSLRs but it can be expensive (link)

I also noticed you stated your preference for shooting with vintage lenses and for shooting primes over zooms. I would like to make some points that go against the grain here but I feel they are very valid and were born from my own experience over the last 2 years of shooting with video DSLR's.

The main disadvantage of shooting with vintage lenses happens on highly paid corporate gigs. Many clients are not as knowledgable about image as you and brands reassure them. Especially when they are paying you big money, modern EOS will prevent possible weird looks and questions that a grandfather lens will attract. Matteboxes are a big help too. A cheap cavision mattebox can help hide and dress up a vintage lens.

The main advantage of shooting with zooms over primes is speed and safety, especially in narrative and commercial work. Speed because you are not moving your whole tripod when the client asks you to adjust the frame to include or exclude things. Safety because when you are exhausted at the end of a 14 hour shoot and you are still changing lenses its easier to get a rear element scratched or find someone has bumped the table that is holding your primes. The less lens changes you can engineer the safer your gear is going to be.
 
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M. Gilden said:
The 7D was the first to offer 24p (5D came first, but ...
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To be accurate you might want to reword this to says The Panasonic GH1 was the first to offer 24p, then six months later came the 7D then later still the 5D magic lantern then 5D firmware update allowed 24p. The 7D was however the first to offer the combo of 24p with HDMI out.

Also for note the t1i shoots video at 1080p 20 fps and 720p at 30 fps. This is a very useful, inexpensive and currently the only way to get undercranking on a DSLR. For example if you shoot a fight scene at 20fps and recorform to 24 then all your actors will be moving quicker. A t1i is dirt cheap on craigslist as no one wants to shoot video on them for lack of 24p.
 
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J Davis said:
- no rocker zoom and no ability to do a zooming shot. Still lenses cannot physically perform this shot. Cine zoom lenses can mount to canon DSLRs but it can be expensive (link)
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True there is no rocker zoom button, I suppose I could mention that. However the T3i does support a zoom of sorts by changing which pixels are being recorded on the sensor. I originally thought the so called "crop mode" just lets you change your FOV abruptly, but apparently it can be adjusted smoothly during a shot being recorded, essentially doing what one would expect a zoom to do on a camcorder (Check this out, from 02.50 onwards: http://vimeo.com/20420054)
Also, I've used the zoom barrel of my Tamron during a shot to establish the size of a room after starting zoomed in- Even used the barrel of my Nikon E series 75-150mm to make a sudden jump in zoom to simulate the mockumentary style for a spoof video (we were going for the style they shoot "Modern Family" with).
I don't really feel like zooms are impossible or even really missing, however I'm admittedly not a fan of zooming in the first place.

I also noticed you stated your preference for shooting with vintage lenses and for shooting primes over zooms. I would like to make some points that go against the grain here but I feel they are very valid and were born from my own experience over the last 2 years of shooting with video DSLR's.

The main disadvantage of shooting with vintage lenses happens on highly paid corporate gigs. Many clients are not as knowledgable about image as you and brands reassure them. Especially when they are paying you big money, modern EOS will prevent possible weird looks and questions that a grandfather lens will attract. Matteboxes are a big help too. A cheap cavision mattebox can help hide and dress up a vintage lens.
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Your point is valid, and you are welcome to voice it here!

However, I personally disagree with name-brand lenses being of any help- I've found that taking out the DSLR in general already warrants the looks and measurable decline in client confidence. In fact, many of my clients told me they recognized the camera, having their own 7D or T2i for photographing their kids, completely unaware that this can be used for professional video. When I first started shooting with DSLR, I always brought a full sized cam DVX or HVX as a backup just to show I *DO* own and shoot with that gear as well.

The irony is, actually, that having vintage glass has been a merit to my credibility on a shoot, not the opposite. This is mostly because they don't look the standard kinds of lenses these folks tend to see on modern SLR cameras.

About 2 weeks ago I was recording an establishing shot of a building for a corporate video, and wanted to get some deep DOF between the foliage and the building. So, I chose my Nikon 75-150mm and set up outside. One of the folks that hired me came over and admired the lens (it has a very long barrel, and very distinct looking), and said something along the lines of "wow- that must be a special lens for video or something (while he watches me pull focus on the large wheel). Guess that's why my <insert HD capable DSLR here> doesn't take good video like yours". If I were out there with the Kit Lens or some popular recognizable Canon lens associated with stills, I think it would have hurt my credibility instead of the opposite (Hey, I've got that camera at home! Hey, and that lens!).

The main advantage of shooting with zooms over primes is speed and safety, especially in narrative and commercial work. Speed because you are not moving your whole tripod when the client asks you to adjust the frame to include or exclude things. Safety because when you are exhausted at the end of a 14 hour shoot and you are still changing lenses its easier to get a rear element scratched or find someone has bumped the table that is holding your primes. The less lens changes you can engineer the safer your gear is going to be.
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There is a LOT of truth to that, granted.

Again, the t3i lets you get around this (and will be a standard feature on all Canons that come afterwards most likely, since that appears to be how canon rolls out features).
But in general, primes are often preferred because they are available in faster and sharper varieties. If you have a few spare moments to set up and frame your shot, they can yield fantastic looking imagery. But in live event type situation (sports, wedding, etc), getting the framing and FOV that you want is often more important. It really depends on what you are shooting- but for narratives and commercial work, it would appear that many prefer primes (myself included). Its a personal taste I suppose.

Just last week, I did a short interview with someone in their home for a network TV talk show (will be airing on CBS), shot it on a 50mm F/1.4 Nikkor. And yes- I *DID* have to move it around a lot to frame the shot that I needed. But, I also had to adjust and move the lights, reflectors, etc... Everyone accepted that as normal, its just what you have to do to get a great looking image.
Most of the folks I work with who are regulars in the production world seem to take this as a given as well- apparently most folks that shoot with film use prime lenses traditionally as well.

So, yes, I hear your concern, the point is that video cameras will always be more convenient for things like that if they are important to you.

J Davis said:
To be accurate you might want to reword this to says The Panasonic GH1 was the first to offer 24p, then six months later came the 7D then later still the 5D magic lantern then 5D firmware update allowed 24p. The 7D was however the first to offer the combo of 24p with HDMI out.

Also for note the t1i shoots video at 1080p 20 fps and 720p at 30 fps. This is a very useful, inexpensive and currently the only way to get undercranking on a DSLR. For example if you shoot a fight scene at 20fps and recorform to 24 then all your actors will be moving quicker. A t1i is dirt cheap on craigslist as no one wants to shoot video on them for lack of 24p.
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Interesting about the GH1- that may be true, although this section is about Canon so I didn't compare them (I personally think the GH2 is pretty cool and worth a mention as well, but beyond the scope of this section). It is curious that the Canons took off as the standard in HD video if the GH1 had those modes first (and its not just because of HDMI out, since the 5D also is far more ubiquitous than the GH1/2).
Either way, I do mention that there are options like the Panasonic series in the thread comparing models, as well as mentioning the T1i already there. I did actually use the T1i once to compliment an interview (was shot in B&W at 20fps and hand-held for an interesting close up side angle; it gave a rather edgy in-your-face look). Still, not recommended much for video any more than the 1D (which also an excellent camera, but not popular for HDV).
 
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Zxander34 said:
Gilden-what type of adapter do you use for your nikon lenses?
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I have a couple of them- first one I bought was a Bower, kind of pricey at $40+ but back then I wasn't sure if I would like the look of vintage glass, so I wanted to buy from a local shop where I could return it.
I never wanted to return it. Its an excellent adapter and very well built. Easily goes on and off the lens.

After that, I bought a cheap Fotodiox adapter for my other lenses since it got glowing reviews from other users. I gotta be honest, I'm not nearly as impressed with that one. I actually had a really difficult time getting it on the lens at first (had to almost force it to the point I thought I was breaking something), and then had difficulty removing it. But, to be fair it was about 1/3rd the price of the Bower.

Bottom line: I like the smoothness of the Bower enough that I'm keeping it. If I borrow someone's lens, its real easy to quickly snap off the current lens and on the borrowed one and vice versa. But, if I were buying more right now I'd go Fotodiox, because at the end of the day, its a simple mechanical adapter that I generally just leave attached to the lens. Once on, it works and there's really no reason to fuss with it or buy an expensive one. Also I could buy 3 of them for the same price!

I'm going to add this to the first page.
 
Plus, I find that Nikon glass is the most versatile and has the longest life span comparatively.

An investment worthwhile.
 
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