SEMI PRO VIDEO CAM MANUAL
SEMI PRO VIDEO CAM PROFESSIONAL

Manufacturers have dropped essential features including mic inputs and EVFs from many of their models. Supply shortages have pushed NikonвЂ™s D7000 close to ВЈ1000, more with an upgraded lens.ДЄnother factor in the DSLRвЂ™s favour is the decline in the usefulness of small-format camcorders for pros.

SEMI PRO VIDEO CAM PROFESSIONAL

For around ВЈ600, there is the choice of the Nikon D5100, Canon Eos 550D and the Panasonic GH2 and Sony Alpha 77 (although the latter two use AVCHD, the Sony has a higher than average bit rate, and the Panasonic can be вЂњhackedвЂќ to record in professional modes). And they are small enough to slip in a kitbag.ДSLRs have proved to be a hit with consumers as well as professionals, and the result is that more video-friendly features are trickling down from cameras such as CanonвЂ™s 5D Mk II to lower end models. The DSLR gives that more вЂњcinematicвЂќ feel, and works well as either a вЂњBвЂќ camera, or as a camera for the creative, вЂњbeautyвЂќ shots alongside a more conventional (broadcast) camcorder. ThereвЂ™s a growing range of news footage being shot on DSLRs, as well as dramas (House, for example) and even parts of movies and adverts.

The small camcorder is the more versatile tool for most journalistic shooting requirements, but the DSLR has three big trump cards: its image quality, its creative control, and its ability to shoot stills. In the field, it is not that clear cut, however. Looking at this as a list, the camcorder does seem to edge ahead.

No long life batteries mains power an option, if available.

Not all models have articulating screens.

Short recording time (from 12 minutes to 29 minutes: DSLR recording times are limited in the EU to avoid a higher import duty charge).

Generally more expensive than a camcorder with вЂњproвЂќ lenses.

Some models have low recording bit rates.

Some models have limited audio controls.

Autofocus ranges from basic to unusable, depending on model.

Greater control over depth of field, and large sensors, makes critical focusing essential.

Part of a system: users can start with a small investment and build up.

Acceptable, in some circumstances, for broadcast.

Large ecosystem of DSLR users so large range of accessories.Choice of models using AVCHD or MPEG2 formats.Larger sensors with generally superior low-light performance.Greater creative control over shutter speed, aperture, framerates and the option to vary depth of field.Limited video frame rates and recording modes (not all camcorders record in Progressive mode).Lack of proper wide angle and telephoto options on most models.Small sensors: little creative control over depth of field.Small sensors: not usually вЂњbroadcastвЂќ quality.

SEMI PRO VIDEO CAM MANUAL

Limited creative control fiddly or absent manual controls.

USB or Firewire streaming (some models).

HDMI out (most high-end models) for playback.

Choice of recording media (hard drive or card).

Audio input for external mic and headphone socket (most high-end models).

Electronic viewfinder/eyepiece (EVF) on most higher end models.

Designed for tripod mounting, with battery covers accessible on a tripod.

Choice of additional, long life batteries.

Small sensors, making sharp focus easy no need to worry about depth of field.

And each device has its pros and cons: Our вЂpimpedвЂ™ Sony CX550V consumer camcorder This leaves the choice of just a handful of high-end consumer вЂњpalmcordersвЂќ: the Panasonic SD900, the SonyВ CX700, and the Canon HF M52.Д«ut do DSLRs offer a viable alternative? Potentially they do, although the price of a DSLR kit is likely to equal, or even be higher, than a video camera with a similar specification. But these are all over ВЈ1000 (plus VAT вЂ“ all prices on this site are quoted ex VAT). Over the last year, a handful of higher-end semi-pro, or low-end pro, camcorders have come to the market. And companies such as Canon and Sony have not always released semi-pro versions of their lower end pro cameras, at least not in the UK (see the Sony AX2000E вЂ“ which is harder to track down at a dealer than the pro version, the NX5). But they often lack many of the features that journalists need, especially for recording sound. Solid-state video recording has allowed manufacturers to create some very compact cameras that are capable of very good results, at least as far as the image goes. Plenty of interviews, and even some documentaries, have been made with kit such as CanonвЂ™s XM1 or SonyвЂ™s equally consumer-friendly VX1000. Photo: Panasonic.ДЇor the last decade or so, there was only really one choice for self-shooters or editorial teams without a dedicated AV crew: a low-end professional or semi-pro camcorder. Should I buy a DSLR or camcorder? This could be one of the toughest questions facing anyone producing video content for the web today.

Semi pro video cam