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DSLR cameras are the iconic bulky cameras that are usually associated with professional photography. And mirrorless cameras are the new kids on the block. They’re more compact than DSLRs with less battery life thanks to the loss of the optical viewfinder.
What’s sometimes less known is that they both make excellent video cameras. With features ranging from 4K DCI resolution to HDMI outputs and sensor stabilization, the lines between a photography and videography camera are blurred compared to even a decade ago.
So why not just buy a video camera if I want to shoot video? For one, a new dedicated device means you’re buying new accessories for it.
And today’s cameras are so incredibly good at shooting high-quality video that they’re applying immense pressure to the camcorder market. Nearly any feature a camcorder has can be added to a DSLR or mirrorless kit while still maintaining its value as a compact photography tool.
Improved condenser mic with wind filter? No problem. Neutral density filters? Easy. And I can have a larger sensor for my camera for less money than a camcorder.
And today’s cameras are so incredibly good at shooting high-quality video that they’re applying immense pressure to the camcorder market. Nearly any feature a camcorder has can be added to a DSLR or mirrorless kit while still maintaining its value as a compact photography tool.
Improved condenser mic with wind filter? No problem. Neutral density filters? Easy. And I can have a larger sensor for my camera for less money than a camcorder.
What should I be looking for in a digital camera for video?
Sensor size
There’s tons of argument on whether the depth of field provided by a larger sensor is worth the extra cost in bodies and lenses but that’s a creative choice and entirely up to you. Larger sensors are worth looking at simply because the light collection area is bigger.
If you work in low light conditions and you still want to preserve video quality, you want the largest sensor possible for your budget. Fortunately, the full-frame cameras listed here all have excellent sensors for working in all lighting conditions. The Panasonic LUMIX GH5S is the only exception yet compensates in its own special way.
Megapixel Count
Megapixels are just as important to video as they are to photography. The more megapixels I have, the greater the resolution of the image. But that doesn’t always mean that more is better.
Let’s say I have a 12 MP camera and a 24 MP camera which both use full-frame sensors (sized 36.00 x 24.00mm). The more pixels I cram onto a sensor, the smaller those pixels have to be. So the pixels of the 24 MP camera are half the size of the pixels in the 12 MP camera.
So how does this affect my imaging? Smaller pixels have less area than larger ones. And just like the sensor itself, smaller pixels capture less light than larger ones.
If I’m a low-light videographer, then a lower megapixel count with a large sensor is what I want.
The Sony A7SII with its 12.2 MP stabilized sensor is the best camera for that, even though the total sensor resolution may make pixel-peeping photographers cringe.
But recording video in unchallenging lighting? Go for more resolution.
If I’m a low-light videographer, then a lower megapixel count with a large sensor is what I want.
The Sony A7SII with its 12.2 MP stabilized sensor is the best camera for that, even though the total sensor resolution may make pixel-peeping photographers cringe.
But recording video in unchallenging lighting? Go for more resolution.
Image Stabilization
When recording on the move image stabilization is incredibly useful to have. While many DSLR lenses have built-in optical image stabilization, sensor-based stabilization is becoming more and more common.
Sensor-based stabilization works by balancing the sensor to control motions on the three rotational axis (roll, pitch, and yaw) and the two translational ones (fore and aft).
Sensor stabilization provides motion blur control that works with any lens you pair with the camera. What’s more, it sometimes stacks with the stabilization elements of the lens.
Sensor-based stabilization works by balancing the sensor to control motions on the three rotational axis (roll, pitch, and yaw) and the two translational ones (fore and aft).
Sensor stabilization provides motion blur control that works with any lens you pair with the camera. What’s more, it sometimes stacks with the stabilization elements of the lens.
Maximum Video Resolution
Most DSLRs on the market today can record at least Full HD resolution (1920 x 1080p). For the vast majority of viewers, this is plenty.
But if you do videography for clients, you’ll be regularly asked for 4K video recording. At 3840 x 2610 for UHD 4K and 4096 x 2160 for DCI 4K, it has four times the resolution of Full HD video.
DCI is mostly used for films and video production, but UHD 4K is increasingly common in lower and mid-tier cameras.
But if you do videography for clients, you’ll be regularly asked for 4K video recording. At 3840 x 2610 for UHD 4K and 4096 x 2160 for DCI 4K, it has four times the resolution of Full HD video.
DCI is mostly used for films and video production, but UHD 4K is increasingly common in lower and mid-tier cameras.
Battery Life
I need to think about how long my camera can continuously run. Can it be powered via a USB battery pack while I change batteries?
The sheer size of DSLR bodies gives them space for larger batteries compared to other cameras.
Also, the optical viewfinders in DSLRs don’t use power, unlike the electronic viewfinders of mirrorless cameras. DSLR cameras have decent to excellent battery life, but videography is a constant drain on the stamina of any battery.
The sheer size of DSLR bodies gives them space for larger batteries compared to other cameras.
Also, the optical viewfinders in DSLRs don’t use power, unlike the electronic viewfinders of mirrorless cameras. DSLR cameras have decent to excellent battery life, but videography is a constant drain on the stamina of any battery.
Mirrorless cameras are more limited in this regard because their sensors create the image of the viewfinder as well as act as the photo/video creator. The compact bodies also need smaller batteries to preserve their size advantage over DSLR cameras. But the cost is less stamina per charge.
Recording Time Limits
Another question to ask is whether the camera has any recording time limits. Many DSLR and mirrorless cameras can only record video for around 30 minutes before the system automatically stops creating the file. A decade ago, this was designed to prevent the processors from overheating and keeping file sizes down.
But now technology has improved beyond the point where this is still an issue. Now it has more to do with customs duties and getting around tariffs that would otherwise classify DSLRs as video cameras in the European Union. But some models and manufacturers gamble that videographers will flock to limitless recording models even if it means a price hike.
5 Best DSLR and Mirrorless Cameras for Video
Canon EOS-1D X Mark II
The EOS-1D X Mark II is one of Canon’s flagship models and priced to match. But it offers some unparalleled videography features and is one of the best DSLRs on the market right now. The 20-megapixel full-frame sensor provides an excellent balance between image clarity and light sensitivity.
Dual Pixel CMOS Autofocus
The impressive thing about Dual Pixel AF is that each pixel on the sensor is designed to simultaneously act as a phase detection sensor and imaging pixel. Many other cameras use Hybrid CMOS AF tech.
But with Hybrid AF each pixel is either an autofocus sensor or imaging pixel, not both. Dual Pixel technology gives the 1D X Mark II incredibly fast autofocus speeds in comparison across 80% of the sensor. This is especially relevant for videos where you want the autofocus system to smoothly track moving subjects, as demonstrated by Canon’s 2017 release video.
While manual focus has its place in videography, the Canon 1D X also includes Movie Servo Autofocus. It’s similar to the Continuous Autofocus function but not quite the same. Servo AF is used to adjust focus when you depress the shutter halfway. Continuous AF works at all times until you press the shutter. Fortunately, the two can be used together to constantly and intelligently control camera focus.
61 autofocus points is an impressive number for a DSLR and help ensure subject tracking is not only accurate but smooth across the frame. But as expected, the Mark II has the 29 minutes 59 second recording time limit of most DSLRs on the market.
Hybrid Photography/Video Options
The Dual DIGIC 6+ processors of the 1D X Mark II allow for constant and burst RAW photography as well as DCI 4K at 60 frames per second.The camera also exports 8.8 MP JPEG images from 4K recorded video in-camera using a still frame grab option. Panasonic pioneered this feature using their 4K Photo Modes.
This is a welcome addition as Canon (and most DSLR manufacturers) have been relatively slow in adding new features to their lineup. Still, frame grabs are perfect if you had been planning to shoot video only and encounter a moment that would be best captured in a photo.
But as Canon’s website notes: “Saving a still image from a single movie frame does not result in the same image quality as a normal still image.” Burst photography is still better. And with a frame rate of 14 fps (16 fps in Live View mode) and a buffer capacity of up to 170 RAW images the 1D X Mark II is quite capable.
GPS Technology
Outdoor photographers and videographers should also take note of the GPS capabilities of the Mark II. The built-in GPS allows the camera to create and embed GIS metadata into photos and videos that specify the location, elevation, and other valuable information about the shoot locale.
Using the GPS, the camera tracks the position of American, Russian, and Japanese satellites and auto syncs its internal clock to UTC. You can also specify how frequently the camera updates its GPS tracking. Like the other cameras here the 1D X Mark II is also weather sealed, ensuring light rain and dust don’t spoil your shoot.
Conclusion
Overall, the Canon 1D X Mark II is a feature-filled powerhouse of a DSLR. But at 1530 g (3.37 lb. / 53.97 oz.) it’s a rather hefty camera that may not be for everyone. Videographers well invested in Canon glass will find it to be appealing despite the weight and price.
Sale Canon EOS-1DX Mark II DSLR Camera (Body Only) - Fastest shooting EOS-1D, capable of up to 14 fps full-resolution RAW or JPEG, and up to 16 fps in Live View mode with new Dual DIGIC 6+ Image Processors
- Achieves a maximum burst rate of up to 170 RAWs in continuous shooting at up to 16 fps, and 4K movies using CFast cards in the new CFast 2.0 slot
- Improved AF performance through 61-point, wide area AF system with 41 cross-type points, improved center point focusing sensitivity to -3 EV and compatibility down to f/8
- Accurate subject tracking for stills and video with new EOS Intelligent Tracking and Recognition AF with 360,000-pixel metering sensor
- 4K video (4096 x 2160) up to 60 fps (59.94), with an 8.8-Megapixel still frame grab in camera. Full 1080p HD capture up to 120 fps for slow motion
Sony A7SII
The full-frame Sony A7S II is sometimes overlooked compared to others, but it’s a videography-oriented mirrorless camera that happens to also take stills. The internal 4K video recording at up to 30 fps is a noticeable upgrade over the HDMI-only recording of the original A7S. The A7SII can also use downsampling to achieve higher quality Full HD video resolution. Let’s see what else this pocket marvel has to offer!
Full Frame Low Resolution Sensor
The 12.2 megapixel full-frame sensor seems wasted in an area of ever-increasing megapixel counts. But photographers and videographers who do low-light shoots know that this is actually an intentional benefit.
Larger pixels are more sensitive to incoming light than smaller ones just like larger sensors collect more light than smaller ones. It’s all about the area exposed to light. And while high megapixel counts are great for detail resolution, if the pixels are too small you’ll find you need to make more exposure adjustments to compensate.
Sometimes you want to ensure your camera performs admirably in low-light without having to crank up your ISO. And having autofocus tracking work in those conditions can be challenging. The A7S II is probably the best low-light camera here!
Flat Video Profiles
Shooting video with flat color profiles is like shooting photography with RAW files. Flat color profiles preserve all of the color information that’s usually discarded in favor of smaller video sizes. The extra color information is also perfect for videographers who need to make adjustments with post-processing software.
Unlike the DSLR listings here the Sony A7S II (as well as the LUMIX GH5S and A7III) offer “RAW” for videography. SLOG 2 was introduced with the A7S, but the A7S II includes S-Gamut3, Cine/S-Log3, and S-Gamut3/S-Log3. S-Log3 works well for the dynamic range increase in complex light situations like dark shadows combined with bright lights (ex: the interior of churches).
5-axis Image Stabilization
Usually, tripods, gimbals, and glidecams are the tools for videographers looking for stability. But the sensor of the A7S II is stabilized across five axes (vertical, horizontal, pitch, yaw and roll) to ensure handheld photography and videography remain smooth and free of motion blur.
Sensor stabilization gives the user significant flexibility knowing that footage shot handheld won’t be unusably shaky. Shutter shock is also significantly reduced with the IS system of the A7S II. Tripods and gimbals still have their place as videography tools, but occasionally you’ll be able to shoot relatively freely with the built-in IS system of the A7S II.
Conclusion
The Sony A7S II is a versatile video camera that comes with a weather sealed body to ensure uncooperating weather never disrupts your plans. The low-resolution full frame sensor ensures you can get both autofocus and good exposure even in the darkest settings. At 627 g (1.38 lb. / 22.12 oz.) the A7S II is the lightest camera here, though the A7II and GH5S are only slightly heavier. And the price is extremely reasonable for a full frame kit.
![Tool Tool](https://cdnp3.stackassets.com/8d17f538aa065b7dc721ff76e428c2f8188bf258/store/opt/204/153/3829f3ac9c0c073436fa2196fb07647f9ccae65af339628c7f55eaf5c638/product_32933_product_shots1.jpg)
- Full-frame camera with 5-axis image stabilization
- Fast and effective, enhanced Fast Hybrid AF
- 12.2 megapixels 10 35mm full-frame Exmor CMOS sensor Lens Compatibility - Sony E-mount lenses
- BIONZ X image processing engine ; Clear Image Zoom :Still/Movie: Approx. 2x
- In the box: Rechargeable Battery NP-FW50; Cable Protector; AC Adaptor AC-UUD11; Battery Charger BC-VW1; Shoulder strap; Body cap; Accessory shoe cap; Eyepiece cup; Micro USB cable
Nikon D5
The Nikon D5 is the first full frame camera by Nikon to offer 4K video recording. While it does not have flat log color profiles like the mirrorless options here, it remains one of the best DSLRs on the market for videography.
Full frame low resolution sensor
The Nikon D5 maxes out at 20.8-megapixels, providing a great balance of resolution to pixel sensitivity just like the Canon 1D X Mark II. The large sensor area ensures plenty of flight is captured for proper exposure in challenging light settings.
And in terms of sheer ISO power, the D5 has an extremely impressive ISO range of 100 to a very usable 102,400. Expanded using the Hi-5 options it reaches an incredible 3,280,000, but the noise levels make the video pretty unusable. Combined with the large sensor and pixels the Nikon D5 is an incredibly good low-light camera.
The 4K resolution of the D5 has a maximum frame rate of 30 fps. That’s slightly disappointing compared to the 60 fps cinematic 4K of some of the other cameras here.
The 1.5x crop factor when shooting 4K gives you some added reach when shooting distant subjects, giving it the view of an APS-C sensor. But most videographers would consider the crop factor a negative.
The 1.5x crop factor when shooting 4K gives you some added reach when shooting distant subjects, giving it the view of an APS-C sensor. But most videographers would consider the crop factor a negative.
Multi-CAM 20K AF sensor module
153 focus points is an excellent number of AF points. And they have a wide coverage across the sensor to ensure your subjects stay in focus while continuously recording. 99 of these are cross-type sensors that give the D5 an edge when finding focus.
Standard phase detection points are a bit slower because they rely on vertical patterns to find focus. Horizontal patterns tend to confuse them. Cross-type points are slightly speedier because they detect both vertical and horizontal patterns accurately.
The Multi-CAM 20K includes its own processor separate from the rest of the camera to speed up autofocus acquisition and tracking.
Incredible stamina
The Nikon D5’s battery life is incredibly high even for a DSLR. The Canon 1D X Mark II has a CIPA rating of 1210 shots per charge. Being mirrorless, the Sony and Panasonic cameras struggle to achieve even a third of that (the A7III has half that stamina at 650 shots per charge).
But the D5 can last for an astounding 3780 shots per charge. While videography doesn’t quite translate into shots per charge, it is clear the D5 has significant stamina and recording power over the other cameras here.
If it didn’t have recording limits to get past tariffs, it would be even better for long shoots like documentary work. But 29 minutes 59 seconds is still a vast improvement over its initial release. Until a firmware update in 2016, the D5 was limited to 3 minutes of 4K recording time.
Conclusion
The Nikon D5 has one of the best sensors here in terms of video quality. Coupled with the high native ISO and powerful Multi-CAM 20K autofocus system the D5 will never fail to find focus, no matter the lighting. The D5 is one of the finest DSLR cameras on the market for videography.
Sale Nikon D5 DSLR 20.8 MP Point & Shoot Digital Camera, Dual XQD Slots - Black - 20.8MP FX-Format CMOS Sensor
- EXPEED 5 Image Processor
- 3.2' 2.36m-Dot Touchscreen LCD Monitor
- 4K UHD Video Recording at 30 fps. CompactFlash (CF) (Type I, compliant with UDMA) XQD Type Memory
- Multi-CAM 20K 153-Point AF System
Panasonic LUMIX GH5S
The LUMIX Gh5S is an improvement over the already impressive GH5. The GH5 has been hailed as the best videography camera on the market and even better than many camcorders. Photography-oriented videographers may prefer the higher sensor resolution of the GH5, but the GH5S takes the cake as the Micro 4/3rds video camera of choice. The large, attention-grabbing “Rec” button on the GH5S tells us which should be more important to the owner.
Low-resolution sensor
The GH5S improves on its predecessor by using a sensor with half of the resolution of the GH5. While a resolution reduction sounds like a loss, the 10.2-megapixel of the GH5S gives it better low light performance by doubling the size of the individual pixels over the 20.3-megapixel sensor of the GH5.
This is extra important because Micro 4/3rds sensors (sized 17.00 x 13.00mm) are significantly smaller than those of full frame cameras (sized 35.00 x 24.00mm). Keep it 100 lyrics. Full frame sensors are nearly 4x larger so the GH5S needs all of the light sensitivity it can muster. But when ISO needs a boost, the GH5S has a maximum sensitivity of 51,200. Combined with the larger pixel size low light footage looks much cleaner compared to that of the GH5.
Multi-aspect sensor
The multi-aspect ratio sensor of the LUMIX GH5 allows it to use the full sensor area shooting 4K video. Sort of. The actual resolution of the sensor is 12.5-megapixels. But the sensor itself is physically larger than the area of the image circle. So when the sensor does a crop for recording 4K video the total area exposed is equal to the Micro 4/3rds lens’ image circle.
However, the new sensor loses out on the in body image stabilization of its predecessor. This makes it less useful for photographers, vloggers, and other videographers on the move unless you also plan to shoot with a glidecam or other stabilization system.
10-bit video & flat color profiles
It features internal capture of 4:2:2 10-bit 4K video recording as well as simultaneous recording to an external HDMI recorder (the Sony A7S II has 8-bit recording). 4K can be recorded at up to 60 fps using either standard (3840 x 2610p) or 25p cinematic (DCI at 4096 x 2160p). The GH5 also offers Full HD at up to an incredible 240 fps for slow motion videography.
Like the A7S II and A7III, the GH5S also can capture flat color profiles; V-LogL, V-Log Gamma, and a Hybrid Log Gamma for HDR (high dynamic range) recording in complex light situations. This makes it an excellent camera for videographers who need to do significant post-processing after a shoot. The V-Log profiles are also available with the GH5 but cost $100 to unlock through a firmware upgrade.
Flat color profiles are the RAW format of videography because they preserve color detail normally discarded in favor of smaller file sizes. Unfortunately, the 1-D X Mark II and Nikon D5 are a bit more photography-oriented and don’t offer flat color profiles for video recording.
Conclusion
The smaller field of view of Micro 4/3rds sensors means scene composition can be an adjustment for videographers used to the larger field of view provided by a larger sensor. But despite the smaller sensor, the LUMIX Gh5S is a marvelous low light camera that’s compact and versatile. The Vlog flat color profiles ensure you always have the highest quality video capture available. And the lack of a recording time limit on videography is a boon for exceptionally long shoots where you don’t wish to interrupt the flow.
Sale PANASONIC LUMIX GH5S Body 4K Digital Camera, 10.2 Megapixel Mirrorless Camera with High-Sensitivity MOS Sensor, C4K/4K UHD 4:2:2 10-Bit, 3.2-Inch LCD, DC-GH5S (Black) - PROFESSIONAL PHOTO AND VIDEO PERFORMANCE: 10.2-megapixel Micro Four Thirds sensor and a significantly higher photoreceptive surface per pixel deliver an ultra-wide dynamic range; Dual Native ISO provides ultra-sensitive video capture with impressively low noise
- RUGGED SPLASH/FREEZEPROOF DESIGN: Durable magnesium alloy body withstands heavy use out in the field and is freezeproof down to -10-degrees; Splash/dustproof construction with weather sealing on every joint, dial and button
- UNLIMITED IN-CAMERA RECORDING OF C4K: Capable of internal SD card capture of 60p50p 8-bit, 30p25p24p 4:2:2 10-bit, 4K: 60p50p 4:2:0 8-bit, 30p25p24p 4:2:2 10-bit; 1080p up to 240fps and C4K 60p VFR
- ANAMORPHIC VIDEO MODE: 4K Anamorphic professional video production interchangeable lens camera system enables high performance, durability and mobility; Electronic shutter: 1/16,000 - 1; Operating temperature -10oC to 40oC (14oF to 104oF)
- CONNECTIVITY AND PORTS: TC In/Out/Synchro Terminal (via included BNC cable), 3.5mm mic jack with line input, 3.5mm headphone jack, 2.5mm remote socket, HDMI Type A Socket and USB-C 3.1 Socket; Available twin SD Card slots (UHS-II U3 compatible)
Fujifilm X-H1
The Fujifilm X-H1 is undeniably similar to the powerful and popular X-T2 yet comes with some improvements that solidify its place as the Fujifilm videography tool of choice. F-log preserves more color information, and the unique Film Simulations offer potent creative tools for videographers.
Flat color profile
The Fujifilm X-H1 offers log recording just like the Sony and Panasonic cameras here. Fuji’s F-Log preserves all of the color information captured by the sensor and provides top-quality video for future edits. F-log is only available while recording to an external recorder, however.
The X-H1 shoots DCI 4K with a bit rate of up to 200 Mbps but a maximum of only 24 fps. It also offers excellent in-camera editing capability as film simulations can be added to the raw footage. Internal recording maxes out at 4:2:0 8-bit recording with 4:2:2 available when recording externally.
Fujifilm Film Simulations
Many people gravitate towards Fuji because of their beautiful film simulations. Usable for either photo or video, they offer subtle adjustments that are far more aesthetically pleasing than the harsh adjustments other manufacturers provide.
Provia is the standard mode for capturing photos and videos. Vivid adds zest to primary colors. ASTIA replicates soft color film. ACROS is a form of monochrome that simultaneously enhances the sharpness of a scene. Classic Chrome subtly decolors the scene for a chrome appearance.
PRO Neg. Hi and PRO Neg. Std are contrast enhancements. Monochrome is black and white. And Sepia is that wild west coloring we all know and love.
PRO Neg. Hi and PRO Neg. Std are contrast enhancements. Monochrome is black and white. And Sepia is that wild west coloring we all know and love.
The newest release, ETERNA, gives a more subdued cast to the colors in a video while enhancing the depth of shadows. ETERNA is well suited to videography and gives a uniquely cinematic mood to footage.
Stabilized, rugged construction
The X-H1 is weatherized just like the other cameras here yet uses even more magnesium than the already rugged X-T2. Dust and light water splashes are no trouble for the camera so long as you’re also using a weatherized lens.
And the sensor-based image stabilization ensures recording handheld doesn’t result in unacceptable levels of motion blur. The system covers five axes of movement and uses a dedicated dual processor system to ensure the image remains steady. Best of all, sensor-based stabilization works with any of Fujifilm’s lenses, whether they include lens-based stabilization or not.
Conclusion
The APS-C sensor of the Fujifilm X-H1 is relatively large, and the camera offers some excellent videography features. Unfortunately, the X-H1 has significant limitations in video recording time with a limit of 15 minutes when recording DCI 4K and 30 minutes with Full HD resolution. Using the VPB-XH1 Vertical Power Booster Grip, the X-H1 has a recording time limit of 30 minutes at 4K resolution.
The lack of 10-bit colors is also a strike against it. But for videographers on the move, the stabilized sensor makes it a great handheld recording option. And the film simulations make for quick edits that look beautiful straight from the camera.
Fujifilm X-H1 Mirrorless Digital Camera (Body Only) The lack of 10-bit colors is also a strike against it. But for videographers on the move, the stabilized sensor makes it a great handheld recording option. And the film simulations make for quick edits that look beautiful straight from the camera.
- 5.5 Stops In Body Image Stabilization. Compatible with all XF and XC lenses
- New High Resolution EVF Magnification ratio of 0.75x and 3.69M dot resolution. The VF display is extraordinarily smooth, with a display time lag of just 0.005 sec and a frame rate of 100 fps
- Comprehensive video features new external film Simulation ideal for shooting movies, f log SD card recording and 1080/120P high speed video mode (1/2, 1/4 and 1/5 speed)
- Flicker reduction mode and improved AF Algorithms. Use focus lock to focus on another subject at the same distance, then recompose the picture
- 25 Percent Thicker magnesium alloy body than X T2, increased scratch resistance and surface hardness, dust and water resistant properties, ability to operate in temps down to 10 Degree C/ 14 Degree F
Overall Conclusion
Each camera here offers excellent features for videographers. As interchangeable lens camera users, the lens collection you already have will determine to a degree which camera you favor. It’s costly to switch systems after all, so if you already own an extensive collection of Canon lenses, the 1D X Mark II will loom a bit larger in your vision compared to the others.
DSLR and mirrorless have no inherent advantages to being better videography cameras. Mirrorless cameras make for smaller rigs, but DSLRs have more stamina. Many of today’s mirrorless cameras offer many more intriguing features to help pull customers away from the well-established DSLR market.
All of the cameras here offers 4K capture, but the Panasonic LUMIX Gh5S provides no recording limit, Vlog recording, and 10-bit color profiles. However, the smaller sensor gives it a 2.0x cropped field of view compared to a full frame camera that may be off-putting to some users. But quality-wise it sits on top of the pack.
The Sony A7S II has astounding low-light performance thanks to the low resolution and high area of the full frame sensor. Likewise, the Nikon D5 has a large sensor, medium resolution and an extremely capable autofocus system that works well no matter the lighting.
Meanwhile, the Canon EOS-1D X Mark II's advanced Dual Pixel autofocus and GPS capabilities ensure it remains a top-tier videographer’s tool. The Fujifilm X-H1’s high bit rate recording combined with its Film Simulation modes give it beautiful files with minimal processing needed out of the camera. The choice is yours, but not a single camera here is a poor choice.
(Redirected from Anamorphic)
Figure 1. Shooting without an anamorphic lens, in widescreen picture format on 4-perf film; some of the film surface area is wasted on the upper/lower, black frame lines.
Figure 2. Shooting with an anamorphic lens stretches the image vertically to cover the entire film frame, resulting in a higher quality but distorted image. When projecting the film, a reverse, complementary lens (of the same anamorphic power) shrinks the image vertically to the original proportions.
Anamorphic format is the cinematography technique of shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio. It also refers to the projection format in which a distorted image is 'stretched' by an anamorphic projection lens to recreate the original aspect ratio on the viewing screen. (It should not be confused with anamorphic widescreen, a different video encoding concept that uses similar principles but different means.) The word anamorphic and its derivatives stem from the Greek anamorphoun ('to transform'),[1] compound of morphé ('form, shape')[2] with the prefix aná ('back, against').[3] In the late 1990s and 2000s, anamorphic lost popularity in comparison to 'flat' (or 'spherical') formats such as Super 35 with the advent of digital intermediates; however in the years since digital cinema cameras and projectors have become commonplace, anamorphic has experienced a considerable resurgence of popularity, due in large part to the higher base ISO sensitivity of digital sensors, which facilitates shooting at smaller apertures.
History[edit]
The process of anamorphosing optics was developed by Henri Chrétien during World War I to provide a wide angle viewer for military tanks. The optical process was called Hypergonar by Chrétien and was capable of showing a field of view of 180 degrees. After the war, the technology was first used in a cinematic context in the short film Construire un Feu (To Build a Fire, based on the 1908 Jack London story of the same name) in 1927 by Claude Autant-Lara.[4]
In the 1920s, phonograph and motion picture pioneer Leon F. Douglass also created special effects and anamorphic widescreen motion picture cameras. However, how this relates to the earlier French invention, and later development, is unclear.[5]
Anamorphic widescreen was not used again for cinematography until 1952 when Twentieth Century-Fox bought the rights to the technique to create its CinemaScope widescreen technique.[4] CinemaScope was one of many widescreen formats developed in the 1950s to compete with the popularity of television and bring audiences back to the cinemas. The Robe, which premiered in 1953, was the first feature film released that was filmed with an anamorphic lens.
Development[edit]
The introduction of anamorphic widescreen arose from a desire for wider aspect ratios that maximised overall image detail while retaining the use of standard (4 perf per frame) cameras and projectors. The modern anamorphic format has an aspect ratio of 2.39:1, meaning the (projected) picture's width is 2.39 times its height, (this is sometimes approximated to 2.4:1). The older Academy format35 mm film (standard non-anamorphic full frame with sound tracks in the image area) has an aspect ratio of 1.375:1, which, when projected, is not as wide.
Anamorphic widescreen was a response to a shortcoming in the non-anamorphic spherical (a.k.a. 'flat') widescreen format. With a non-anamorphic lens, the picture is recorded onto the film negative such that its full width fits within the film's frame, but not its full height. A substantial part of the frame area is thereby wasted, being occupied (on the negative) by a portion of the image which is subsequently matted-out (i.e. masked, either on the print or in the projector) and so not projected, in order to create the widescreen image.
To increase overall image detail, by using all the available area of the negative for only that portion of the image which will be projected, an anamorphic lens is used during photography to compress the image horizontally, thereby filling the full (4 perf) frame's area with the portion of the image that corresponds to the area projected in the non-anamorphic format. Up to the early 1960s, three major methods of anamorphosing the image were used: counter-rotated prisms (e.g. Ultra Panavision),[6] curved mirrors in combination with the principle of Total Internal Reflection (e.g. Technirama),[7] and cylindrical lenses (lenses curved, hence squeezing the image being photographed, in only one direction, as with a cylinder, e.g. the original CinemaScope system based on Henri Chrétien's design).[8] Regardless of method, the anamorphic lens projects a horizontally squeezed image on the film negative. This deliberate geometric distortion is then reversed on projection, resulting in a wider aspect ratio on-screen than that of the negative's frame.
Equipment[edit]
An anamorphic lens consists of a regular spherical lens, plus an anamorphic attachment (or an integrated lens element) that does the anamorphosing. The anamorphic element operates at infinite focal length, so that it has little or no effect on the focus of the primary lens it's mounted on but still anamorphoses (distorts) the optical field. A cameraman using an anamorphic attachment uses a spherical lens of a different focal length than they would use for Academy format (i.e. one sufficient to produce an image the full height of the frame and twice its width), and the anamorphic attachment squeezes the image (in the horizontal plane only) to half-width. Other anamorphic attachments existed (that were relatively rarely used) which would expand the image in the vertical dimension (e.g. in the early Technirama system mentioned above), so that (in the case of the common 2-times anamorphic lens) a frame twice as high as it might have been filled the available film area. In either case, since a larger film area recorded the same picture the image quality was improved.
The distortion (horizontal compression) introduced in the camera must be corrected when the film is projected, so another lens is used in the projection booth that restores the picture back to its correct proportions (or, in the case of the now obsolete Technirama system, squeezes the image vertically) to restore normal geometry. The picture is not manipulated in any way in the dimension that is perpendicular to the one anamorphosed.
It may seem that it would be easier to simply use a wider film for recording movies. However, since 35 mm film was already in widespread use, it was more economically feasible for film producers and exhibitors to simply attach a special lens to the camera or projector, rather than invest in an entirely new film format, which would require new cameras, projectors, editing equipment and so forth.
Naming[edit]
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Cinerama was an earlier attempt to solve the problem of high-quality widescreen imaging, but anamorphic widescreen eventually proved more practical. Cinerama (which had an aspect ratio of 2.59:1) consisted of three simultaneously projected images side-by-side on the same screen. However, in practice the images never blended together perfectly at the edges. The system also suffered from various technical drawbacks, in that it required three projectors, a 6-perf-high frame, four times as much film, and three cameras (eventually simplified to just one camera with three lenses and three streaming reels of film and the attendant machinery), plus a host of synchronization problems. Nonetheless, the format was popular enough with audiences to trigger off the widescreen developments of the early 1950s. A few films were distributed in Cinerama format and shown in special theaters, but anamorphic widescreen was more attractive to the Studios since it could realize a similar aspect ratio and without the disadvantages of Cinerama's complexities and costs.
The anamorphic widescreen format in use today is commonly called 'Scope' (a contraction of the early term CinemaScope), or 2.35:1 (the latter being a misnomer born of old habit; see 'Aspect ratio' section below). Filmed in Panavision is a phrase contractually required for films shot using Panavision's anamorphic lenses. All of these phrases mean the same thing: the final print uses a 2:1 anamorphic projector lens that expands the image by exactly twice the amount horizontally as vertically. This format is essentially the same as that of CinemaScope, except for some technical developments, such as the ability to shoot closeups without any facial distortion. (CinemaScope films seldom used full facial closeups, because of a condition known as CinemaScope mumps, which distorted faces as they got closer to the camera.)
Optical characteristics[edit]
Example of blue-line horizontal anamorphic flare
There are artifacts that can occur when using an anamorphic camera lens that do not occur when using an ordinary spherical lens. One is a kind of lens flare that has a long horizontal line, usually with a blue tint, and is most often visible when there is a bright light in the frame, such as from car headlights, in an otherwise dark scene. This artifact is not always considered a problem., and even has become associated with a certain cinematic look, and often emulated using a special effect filter in scenes shot with a non-anamorphic lens. Another common aspect of anamorphic lenses is that light reflections within the lens are elliptical, rather than round as in ordinary cinematography. Additionally, wide angle anamorphic lenses of less than 40 mm focal length produce a cylindrical perspective, which some directors and cinematographers, particularly Wes Anderson, use as a stylistic trademark.
Many wide-angle anamorphic lenses render a cylindrical perspective, as simulated by this stitched panorama of Cavendish House, Leicester. Contrast the straight vertical plane with the curved horizontal plane.
Another characteristic of anamorphic lenses, because they stretch the image vertically, is that out-of-focus elements tend to blur more in the vertical direction. An out-of-focus point of light in the background (called bokeh[9]) appear as a vertical oval rather than as a circle. When the camera shifts focus, there is often a noticeable effect whereby objects appear to stretch vertically when going out of focus. However, the commonly cited claim that anamorphic lenses produce a shallower depth of field is not entirely true. Because of the cylindrical element in the lens, anamorphic lenses take in a horizontal angle of view twice as wide as a spherical lens of the same focal length. Because of this, cinematographers often use a 50 mm anamorphic lens when they would otherwise use a 25 mm spherical lens, or a 70 mm rather than a 35 mm, and so on.
A third characteristic, particularly of simple anamorphic add-on attachments, is 'anamorphic mumps'. For reasons of practical optics, the anamorphic squeeze is not uniform across the image field in any anamorphic system (whether cylindrical, prismatic or mirror-based). This variation results in some areas of the film image appearing more stretched than others. In the case of an actor's face, when positioned in the center of the screen faces look somewhat like they have the mumps, hence the name for the phenomenon. Conversely, at the edges of the screen actors in full-length view can become skinny-looking. In medium shots, if the actor walks across the screen from one side to the other, he will increase in apparent girth. Early CinemaScope presentations in particular (using Chrétien's off-the-shelf lenses) suffered from this. Panavision was the first company to produce an anti-mumps system in the late 1950s.
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Panavision used a second lens (i.e. an add-on adapter) which was mechanically linked to the focus position of the primary lens. This changed the anamorphic ratio as the focus changed, resulting in the area of interest on-screen having a normal-looking geometry. Later cylindrical lens systems used, instead, two sets of anamorphic optics: one was a more robust 'squeeze' system, which was coupled with a slight expansion sub-system. The expansion sub-system was counter-rotated in relation to the main squeeze system, all in mechanical interlinkage with the focus mechanism of the primary lens: this combination changed the anamorphic ratio and minimized the effect of anamorphic mumps in the area of interest in the frame. Although these techniques were regarded as a fix for anamorphic mumps, they were actually only a compromise. Cinematographers still had to frame scenes carefully to avoid the recognizable side-effects of the change in aspect ratio.
Recent use[edit]
Although the anamorphic widescreen format is still in use as a camera format, it has been losing popularity in favour of flat formats, mainly Super 35. (In Super 35, the film is shot flat, then matted, and optically printed as an anamorphic release print.) The decline in popularity can be attributed to the artifacts, distortions, speed, and expenses (in comparison to its spherical counterpart).
An anamorphic lens is often slower (has a smaller effective aperture) than a similar spherical lens, and thus requires more light and makes shooting low-light scenes more difficult. The anamorphic-scope camera format does not preserve any of the image above or below the frame, so it may not transfer as well to narrower aspect ratios, such as 4:3 or 16:9 for full screen television, and would have to be pan and scanned as a result. Film grain has become less of a concern because of the availability of higher-quality film stocks and digital intermediates, although anamorphic format - due to its use of the full negative frame to record a smaller image – always yields higher definition than non-anamorphic format (provided the anamorphic projection lens, which is technically more demanding, is adequate).
The aperture of the lens (the entrance pupil), as seen from the front, appears as an oval.
Anamorphic scope as a printed film format, however, is well established as a standard for widescreen projection. Regardless of the camera formats used in filming, distributed prints of a film with a 2.39:1 (1024:429) theatrical aspect ratio is always in anamorphic widescreen format. Due to many movie theaters around the world not needing to invest in special equipment to project this format, it has become standard equipment in many cinemas.
Aspect ratio [edit]
One common misconception about the anamorphic format concerns the actual width number of the aspect ratio, as 2.35, 2.39 or 2.4. Since the anamorphic lenses in virtually all 35 mm anamorphic systems provide a 2:1 squeeze, one would logically conclude that a 1.375∶1 full academy gate would lead to a 2.75∶1 aspect ratio when used with anamorphic lenses. Due to differences in the camera gate aperture and projection aperture mask sizes for anamorphic films, however, the image dimensions used for anamorphic film vary from flat (spherical) counterparts. To complicate matters, the SMPTE standards for the format have varied over time; to further complicate things, pre-1957 prints took up the optical soundtrack space of the print (instead having magnetic sound on the sides), which made for a 2.55∶1 ratio (ANSI PH22.104-1957).
Anamorphic 4-perf camera aperture is slightly larger than projection aperture
The initial SMPTE definition for anamorphic projection with an optical sound track down the side ANSI PH22.106-1957 was issued in December 1957. It standardized the projector aperture at 0.839 × 0.715 inches (21.3 × 18.2 mm), which gives an aspect ratio of c. 1.17∶1. The aspect ratio for this aperture, after a 2× unsqueeze, is 2.3468…∶1, which rounded to the commonly used value 2.35∶1.
A new definition issued in October 1971 as ANSI PH22.106-1971. It specified a slightly smaller vertical dimension of 0.700 inches (17.8 mm) for the projector aperture, to help make splices less noticeable to film viewers. After unsqueezing, this would yield an aspect ratio of c. 2.397∶1.Four-perf anamorphic prints use more of the negative's available frame area than any other modern format, which leaves little room for splices. As a consequence, a bright line flashed onscreen when a splice was projected, and theater projectionists had been narrowing the vertical aperture to hide these flashes even before 1971. This new projector aperture size, 0.838 × 0.700 inches (21.3 × 17.8 mm), aspect ratio 1.1971…∶1, made for an un-squeezed ratio of 2.39∶1. This is commonly referred to by the rounded value 2.40∶1 or 2.4∶1.
The most recent revision, SMPTE 195-1993, was released in August 1993. It slightly altered the dimensions so as to standardize a common projection aperture width (0.825 inches or 21.0 mm) for all formats, anamorphic (2.39∶1) and flat (1.85∶1). The projection aperture height was also reduced by 0.01 inches (0.25 mm) in this modern specification to 0.825 × 0.690 inches (21.0 × 17.5 mm), aspect ratio 1.1956…∶1, which is commonly rounded to 1.20∶1, to retain the un-squeezed ratio of 2.39∶1.[10] The camera's aperture remained the same (2.35∶1 or 2.55∶1 if before 1958), only the height of the 'negative assembly' splices changed and, consequently, the height of the frame changed.
Anamorphic prints are still often called 'Scope' or 2.35 by projectionists, cinematographers, and others working in the field, if only by force of habit. 2.39 is in fact what they generally are referring to (unless discussing films using the process between 1958 and 1970), which is itself usually rounded up to 2.40 (implying a false precision as compared to 2.4). With the exception of certain specialist and archivist areas, generally 2.35, 2.39 and 2.40 mean the same to professionals, whether they themselves are even aware of the changes or not.
Lens makers and corporate trademarks[edit]
There are numerous companies that are known for manufacturing anamorphic lenses. The following are the most well known in the film industry:
Origination[edit]
- Panavision is the most common source of anamorphic lenses, with lens series ranging from 20 mm to a 2,000 mm anamorphic telescope. The C-Series, which is the oldest lens series, are small and lightweight, which makes them very popular for steadicams. Some cinematographers prefer them to newer lenses because they are lower in contrast. The E-Series, of Nikon glass, are sharper than the C-Series and are better color-matched. They are also faster, but the minimum focus-distance of the shorter focal lengths is not as close. The E135mm, and especially the E180mm, are great close-up lenses with the closest minimum focus of any long Panavision anamorphic lenses. The Super (High) Speed lenses (1976), also by Nikon, are the fastest anamorphic lenses available, with T-stops between 1.4 and 1.8; there is even one T1.1 50mm, but, like all anamorphic lenses, they must be stopped-down for good performance because they are quite softly focused when wide open. The Primo and Close-Focus Primo Series (1989) are based on the spherical Primos and are the sharpest Panavision anamorphic lenses available. They are completely color-matched, but also very heavy: about 5–7 kg (11–15 lb). The G-Series (2007) performance and size comparable with E-Series, in lightweight and compact similar to C-Series. The T-Series (2016), Panavision's latest anamorphic lens series, is designed for digital cameras initially, but also film camera compatible through specific re-engineering at Panavision.
- Vantage Film, designers and manufacturers of Hawk lenses. The entire Hawk lens system consists of 50 different prime lenses and 5 zoom lenses, all of them specifically developed and optically computed by Vantage Film. Hawk lenses have their anamorphic element in the middle of the lens (not up front like Panavision), which makes them more flare-resistant. This design choice also means that if they do flare, one does not get the typical horizontal flares. The C-Series, which were developed in the mid-1990s, are relatively small and lightweight. The V-Series (2001) and V-Plus Series (2006) are an improvement over the C-Series as far as sharpness, contrast, barrel-distortion and close-focus are concerned. This increased optical performance means a higher weight, however (each lens is around 4–5 kg [8.8–11.0 lb]). There are 14 lenses in this series—from 25 mm to 250 mm. The V-Series also have the closest minimum focus of any anamorphic lens series available and as such can rival spherical lenses. Vantage also offers a series of lightweight lenses called V-Lite. They are 8 very small anamorphic lenses (about the size of a Cooke S4 spherical lens), which are ideal for handheld and Steadicam while also giving an optical performance comparable to the V-Series and V-Plus lenses. In 2008 Vantage introduced the Hawk V-Lite 16, a set of new lenses for 16 mm anamorphic production, as well as the Hawk V-Lite 1.3× lenses, which make it possible to use nearly the entire image area of 3-perf 35 mm film or the sensor area of a 16:9 digital camera and at the same time provide the popular 2.39:1 release format.
- Carl Zeiss AG and ARRI developed their Master Anamorphic lens line, debuted on September 2012, to provide minimum distortion and faster aperture at T1.9. It's a totally new lens design which different from third-party modified Zeiss-based anamorphics such as JDC and Technovision.
- Cooke Optics also developed their Anamorphic/i lens line, providing T2.3 aperture and color-matched with other Cooke lens line, which marketed as their 'Cooke Look' feature. Same as Zeiss, it's a totally new lens design which different from third-party modified Cooke-based anamorphics such as JDC and Technovision. Besides, Cooke also developed its Anamorphic/i Full Frame Plus in 1.8× squeeze ratio for full frame cameras.
- Angenieux: Angenieux first zoom for 35 mm film camera, the 35-140 mm, was equipped with a front anamorphic attachment built by Franscope. The 40-140 anamorphic was used on several Nouvelle Vague movies such Lola (1961) or Jules and Jim (1962). Panavision adapted the Angenieux 10× zoom for anamorphic productions. The 50-500 APZA was part of the standard anamorphic production package supported by Panavision from mid 1960s to the end of the 1970s. It has been used in numerous movies including The Graduate (1967), MASH (1970), McCabe and Mrs Miller (1971), Death in Venice (1971) and Jaws (1975). In 2013 and 2014 Angenieux released a new series of high end anamorphic zooms. These lenses, the 30-72 and 56-152 Optimo A2S are compact and weighs less than 2.5 kg.
- Joe Dunton Camera (JDC): Manufacturer and rental house based in Britain and North Carolina, which adapts spherical lenses to anamorphic by adding a cylindrical element. Its most popular lenses are the Xtal Xpres series (pronounced 'Crystal Express'), which were built by Shiga Optics in Japan from old Cooke S2/S3 and Panchro lenses. They have also adapted Zeiss Super Speeds and Standards (the Speedstar series), as well as Canon lenses. JDC was purchased by Panavision in 2007.[11]
- Elite Optics, manufactured by JSC Optica-Elite Company in Russia and sold in the United States by Slow Motion Inc.
- Technovision, a French manufacturer that, like JDC, has adapted spherical Cooke and Zeiss lenses to anamorphic. Technovision was purchased by Panavision in 2004.
- Isco Optics, a German company that developed the Arriscope line for Arri in 1989.
Projection[edit]
- ISCO Precision Optics is a manufacturer of theatrical cinema projection lenses.
- Panamorph is a manufacturer of hybrid cylindrical / prism based projection lenses specialized for the consumer home theater industry.
- Schneider Kreuznach, (also called Century Optics) makers of anamorphic projection lenses. The company also manufactures add-on anamorphic adaptor lenses that can be mounted on digital video cameras.
Super 35 and Techniscope[edit]
Although many films projected anamorphically have been shot using anamorphic lenses, there are often aesthetic and technical reasons that make shooting with spherical lenses preferable. If the director and cinematographer still wish to retain the 2.40:1 aspect ratio, anamorphic prints can be made from spherical negatives. Because the 2.40:1 image cropped from an Academy ratio 4-perf negative causes considerable waste of frame space, and since the cropping and anamorphosing of a spherical print requires an intermediate lab step, it is often attractive for these films to use a different negative pulldown method (most commonly 3-perf, but occasionally Techniscope 2-perf) usually in conjunction with the added negative space Super 35 affords.
However, with advancements in digital intermediate technology, the anamorphosing process can now be completed as a digital step with no degradation of image quality. Also, 3-perf and 2-perf pose minor problems for visual effects work. The area of the film in 4-perf work that is cropped out in the anamorphosing process nonetheless contains picture information that is useful for such visual effects tasks as 2D and 3D tracking. This mildly complicates certain visual effects efforts for productions using 3-perf and 2-perf, making anamorphic prints struck digitally from center cropped 4-perf Super 35 the popular choice in large budget visual effects driven productions.
See also[edit]
References[edit]
- ^'Anamorphosis – Definition and meaning'. Collins English Dictionary. Retrieved May 9, 2020.
- ^'Origin and meaning of prefix morpho-'. Online Etymology Dictionary. Retrieved May 9, 2020.
- ^'Origin and meaning of prefix ana-'. Online Etymology Dictionary. Retrieved May 9, 2020.
- ^ abKonigsberg, Ira. The Complete Film Dictionary Meridian. 1987. 'Anamorphic lens' pp. 11-12
- ^Michael Svanevik and Shirley Burgett, 'Menlo’s Mild-Mannered Film Wizard: Motion Picture Inventor Leon Douglass Deserves Historical Niche', Palo Alto Daily News (July 5, 2008) pp. 6-7
- ^US Grant 2890622A, Walter Wallin, 'Anamorphosing system', published 11 August 1954, issued 16 June 1959, assigned to Panavision Inc
- ^US Grant 3165969A, Frank George Gunn, 'Photographic production of anamorphous records', published 24 October 1955, issued 19 January 1965, assigned to Technicolor Corp of America
- ^US Grant 1829634A, Henri Chrétien, 'Taking and projection of motion pictures and films therefor', published 28 January 1929, issued 27 October 1931
- ^Why is anamorphic bokeh oval?
- ^Hart, Martin.(2000). Widescreen museum 'Of Apertures and Aspect Ratios' Retrieved July 8, 2006.
- ^'Panavision to Acquire Camera Assets of Joe Dunton & Company'. PR Newswire. August 15, 2007. Retrieved February 1, 2013.
External links[edit]
- 'Of Apertures and Aspect Ratios'. Widescreen Museum.
- Mitchell, Rick. 'The Widescreen Revolution'. Operating Cameraman. Society of Camera Operators (Summer, 1994). Archived from the original on December 27, 2008. Retrieved July 6, 2013.
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