The Video Revolution, Part II: DSLRs and Hybrids

Watch Battle for Haiti on PBS. See more from FRONTLINE.

Last week we discussed the impact of the Millennial generation on the use and popularity of video content as an enhancement to information consumption online. They, along with the ubiquity of broadband and the Internet’s unique position as a visual medium, have contributed to the growing popularity of non-traditional video capture devices like DSLRs*, smart phones, and hybrid camera-corders. The effect of these devices has been nothing short of revolutionary to the filmmaking industry, and non-fictional film in particular.

While professional filmmakers continue to rely primarily on the traditional camcorder, many are beginning to include these alternative devices in their work because of the exciting possibilities they present as regards the kinds of footage they are able to capture. A good example is the world famous cinematographer Mrinal Desai.

Last year, I had an opportunity to ask Mr. Desai about the equipment he used for the Frontline documentary, “The Battle for Haiti”. He revealed that in addition to using the Sony F800 HDCAM, his team used the Canon 5D MKII to shoot much of the B-roll you see in the clip above. The footage is absolutely breathtaking and demonstrates one of the many reasons why professionals are beginning to experiment with DSLRs in their projects.

Some may argue that Mr. Desai also used expensive lenses and other equipment to produce the high quality images we see in the clip above, and it’s true. However, the fact that the DSLR cost about one-fifth the price of the HDCAM makes it a compelling option for any independent documentary maker on a budget.

Still, some worry that the image form factor of these new devices is not “motion picture” quality, and again, they would be right. True “motion picture” quality requires a larger resolution than many of these devices are capable of, but that is beginning to change.

The growing popularity of DSLRs has forced manufacturers like RED to introduce “hybrid” cameras that are capable of large format image capture but cost significantly less than the majority of professional grade camcorders. Take a look at the clip below shot with a RED Scarlet-X (http://www.red.com/products/scarlet, retail $9700 body only).

Thus, for less than a third of the price of a RED Epic-M, you can buy a hybrid capable of “motion picture” quality footage.

While the price of the RED Scarlet-X and Canon 5D MKII may seem appealing to professionals tired of paying tens of thousands of dollars for a single camcorder, it is still way outside the budget of many independent doc makers. For those seeking an even more cost effective alternative there are numerous cameras available that provide high quality imaging at a great price. One in particular, another hybrid, is the newly released JVC GC PX-10 (http://camera.jvc.com/). 

A recent addition to their line of camera/camcorders, the PX-10 offers full, progressive HD quality for about the price of an entry level DSLR (retail $899.95). The clips below were taken using the PX-10. Note, that the second clip is shot at 300fps. 


Normal frame rate:

300fps:




The bottom line is that the evolution of alternatives to traditional camcorders continues at a rapid pace and that we, as indie filmmakers, should not discount them as unsuitable simply because they are not “motion picture” quality. For many emerging and seasoned pros these devices offer a cost-effective means of capturing high quality images for their projects. If the goal is to see your work on the big screen, there are still alternatives like the RED Scarlet-X that offer 4K resolution at an affordable price. But for the rest of us that are content with the small screen format of TV and the Internet, there are now a myriad of options available that are capable of delivering beautiful images without draining your bank account.


*The term "DSLR" refers to a type of camera in which the subject of the image is viewable exactly as it will be captured, unlike a camera which relies solely on the viewfinder. In addition, the format of DSLRs is typically equivalent to 35mm film but may also include medium format imaging that uses a smaller sensor. In other words, DSLRs are what professional photographers use as digital replacements for their 35mm film counterparts. 

The Video Revolution

Video is everywhere. At no other point in human history has so much emphasis been placed on the moving image as an enhancement to how we receive and interpret information. From CNN.com to Reddit, the appetite for original video content continues to grow by leaps and bounds. If you are wondering, “who is to blame,” you can lay all the praise or condemnation on the Internet.

The web has evolved from its early roots as a method of transmitting text to a multimedia-rich, visual medium of communication. Just look at what it has done to politics and journalism. Check any mainstream political or news site and you will see lots and lots of video. Why is video so pervasive? Well, one reason is because of the ease with which even the novice can capture, edit, upload, and distribute video. Add to this the ubiquity of broadband and it suddenly becomes obvious why our culture is being inundated with video content.

While some may argue that it is the Internet that is driving the rapid development of cheaper and better quality tools for video production, others insist it’s the other way around. I say it is a convergence of the two with a third important element: the emergence of the Millennials as a consumer base. The Millennials are those individuals born between 1982 and 1995. They are the first generation of Americans raised with an awareness of the Internet, and are also the first culture whose primary media source is TV. More than their predecessors the Millennials are the ‘video’ generation.

All of this has led to an explosion in the production of video content for online consumption. Whether it is Huffingtonpost, Reddit, or CNN.com, everywhere you look it seems as if anyone and everyone with a computer, smartphone, or tablet is making videos and posting them online.

How then does this new reality affect us as documentarians? First, it means that we now have a lot more competition. Second, it suggests that the old philosophy of buying the best camera that you can afford may not be true anymore. Why would someone lay out $20,000 for a RED when they can pay $5,000 for a DSLR and still maintain a high level of visual quality? Sure, some may argue that a video camera is not a still camera, and vice versa, but the evidence indicates that the line between what we consider “professional” grade and “amateur” is blurring to the point that, as Indie doc makers, there is compelling reason to seriously consider the latter when determining which camera to buy for our projects.

But it’s not only the price difference that makes these new video devices an interesting choice. It is also their form factor. The fact that I can record video on a device as small and easy to carry as a DSLR or smart phone presents intriguing possibilities. Oftentimes, interviews happen in places that are unaccommodating to large camera cases and equipment. DSLRs, smart phones, tablet computers, make it possible to capture footage in ways and places never dreamed of even a decade ago. Moreover, all of these devices record in a highly compressed HD format. With most manufacturers claiming a resolution of 720p or higher, this means that the video quality from these devices is as good or better than most of the non-fictional, TV programming of the 80’s and 90’s. Take a look at the video link above. It is a short documentary shot with a Canon DSLR and some prime lenses. The entire production cost less than $5K to create.

Next week we will take a deeper look at some of these alternatives to traditional video cameras, and how they are revolutionizing the documentary art form. Until then, have a great week.