HD camcorder or DSLR for a first professional camera?

[Steve Crow]

Much depends upon what type of work you will be doing or going after with your new camera and on how willing you are to deal with the extra technical challenges of HD DSLRs. I elected to leave traditional videocameras for a DSLR however there are some jobs that now are too difficult or not possible to do with my current equipment so those are not assignments I can’t get, luckily most of those jobs I am not so interested in anyways! 🙂

Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com

[Trent Slabaugh]

Thanks for responding, Steve! In the past, I’ve done projects such as promotional videos, plays and dance recitals, sports shoots, and music videos (albeit as a PA, though I’d love to get behind the camera in the future). As for what I plan on doing next, I’d like to continue freelancing and take on any sort of project that can come my way. I know that I’ll need a camcorder at some point, and I do plan on having both that and a DSLR. But right now, my budget is of the essence and I’m just looking for something to give me a good start. Once I do have a camera and can get to work, any money I earn from it will be going right into purchasing more equipment. So it wouldn’t take as long for me to save up for another camera as it is for me right now.

[Steve Crow]

Well doing live events with a DSLR isn’t going to be the easiest when you are filming by yourself with only one camera. Long speeches and presentations (anything over 10-12 minutes) are not suited for DSLRs. However things like promotional videos, dramatic and non-fiction films and music videos, are a much better fit for a DSLR.

DSLR’s teach you how, in my opinion, to become a much more skilled filmmaker than a traditional videocamera because it allows you to shoot in full manual which means you will be learning more about light and how to control it with aperture, ISO and shutter speed plus all the other light manipulation tools you have at your disposal.

You will also be pretty much forced to learn a great deal more about sound too which is such an important aspect of any project. I say this because inexperienced traditional videocamera shooters are often lulled into using just the built in microphone because it’s so easy, that’s not a viable option with a DSLR. A major part of your budget has to go into sound gear if you elect the DSLRs – sound is SOOOOOOO important.

It’s been a few years ago for me since I made the switch but I still use a very basic DSLR, the Canon T2i. It gives me full manual control and the video quality is very similar to Canon’s more modern crop sensor cameras. Today, if I could afford it, I would go with the Canon 7D but for me the price made it a non-option. Perhaps you can pick one up used from a reputable source. Just buy the body, whatever camera you get – that should save you a few pennies. The kit lenses are too “slow” – from Canon you can get a VERY nice 50mm 1.4 for around $300 or a 1.8 50mm for closer to $120 but I found the focus ring hard to manipulate because it is so thin on that lens – the 1.4 has a nice wide focus ring.

Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com

[Trent Slabaugh]

I guess this brings me back to the costs and benefits of it all. I understand that live events will be MUCH trickier with a DSLR alone (exactly why I want to have both a camcorder and DSLR at my disposal). And I’ll admit straight up that I’m getting really antzy to get back out there. But I also know that choosing the DSLR will force me to compensate for what I don’t have. And you know what? A good part of me wants to put myself through those hurtles. You said it yourself, forcing yourself to make up for those necessities will give you a much better understanding of why those aspects are so important. It will teach you to be a more skilled filmmaker than traditional videographer, which is exactly what I want to be.

With that said, let’s talk equipment. I’ve taken a good look at Canon’s DSLR’s, and I’m considering either the 60D or the 7D for my budget. I love the articulate LCD screen on the 60D and that it offers more frame rates (makes editing a bit easier). It’s also less expensive and would allow for me to buy more equipment with my budget. However, the 7D has a more professional look to it (similar to the 5D, which I’d like to work up to) and it will force me to adapt to Compact Flash, which I know many high end DSLR’s and camcorders record on. I’m sure I’ll be doing tons of more research as I continue to save, but I’d like to get your opinion if I may.

As for audio, I’m contemplating either a Rode VideoMic Pro or a good shotgun mic (probably from Rode as well). I’ve heard demos of the Rode VideoMic, and I like what I hear. However, I know it may only be limited to being mounted on a camera. A standard shotgun mic could give me better sound and definitely more versatile use. But I know that will require me to purchase more equipment, which would kind of clutter the camera. If you have an opinion on this matter as well, I’d like to hear it.

Thanks again Steve for your advice!, And by the way, if anyone else comes across this thread, please feel welcome to offer your two cents on the matter. I want to make sure I get as much right as I can before I buy, so I’ll accept any help that I can.

[Steve Crow]

If it’s a real option for you I have to recommend the 7D, many Hollywood level shooters have remarked how despite it still being a cropped sensor camera that something that it is doing video wise makes it stack up VERY well even compared to the 5D Mark II.

The Rode VideoMic Pro is a good choice BUT don’t think that it alone will give you clean audio. It’s job is simply to IMPROVE the quality of the sound being captured by the camera over the native built-in mic which is terrible. It gives you a cleaner audio track that you can sync your REAL audio to. In an emergency, and if the conditions are just right, yes you COULD use the Rode Video Mic as your sole audio source but I think you’ll find that’s it’s only so so audio wise…and remember too that you still can’t monitor your audio which is very important. Magic Lantern can improve the sound performance and with the addition of a special splitter cable from Sescom with extra goodies inside so that you can even monitor the sound level and see your levels. You know what, just try it and see for yourself that’s the best way.

As you grow into the profession you are going to be “cluttering up” the camera quite a bit in order to add the bits and pieces that help turn a still camera into a feature film movie camera – that’s where all those rigs you see online come in – to hold and stabilize the extra hardware. Just learn to live with it is my advice, some DSLR rigs end up being bigger than a traditional videocamera but offer a cinematic image that those traditional videocameras only can rival if you spend tens and tens of thousands of dollars.

Don’t forget that a lot of gear can be rented or even borrowed from good friends! Start slow, don’t rush into turning this into a business, that’s not all it’s cracked up to be meaning when you turn a passion into your sole source of income….that’s a whole ‘nother kettle of fish best left for some other time.

Dig into the older threads here on this forum and you will see lots of discussions about sound, gear etc that will help guide you onward.

Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com

[Bill Bruner]

Trent – there is one camera that combines the strengths of camcorders and DSLRs and that is the Panasonic GH3 (available at Adorama, Amazon or eBay for $1298 or $1299 list).

It has the large sensor and interchangeable lenses of a DSLR, and the fast video autofocus, silent lenses and hour+ long continuous recording of a camcorder – capabilities that the 60D or 7D won’t give you.

With this camera, you can shoot “run and gun” events, narrative or music video.

Here is what it can do:

Narrative:
https://vimeo.com/59543338

VFX heavy Music Video:
https://vimeo.com/53834993

Live Event using autofocus (NSFW – please watch in 1080p)
https://www.youtube.com/watch?v=MkY7o3uDgVc

https://www.youtube.com/watch?v=6eo3rO5j1hw

https://www.youtube.com/watch?v=aDL1jNdaNMs

This camera also has a headphone jack, shoots at 1080/60p, records at much higher bit rates and is far less susceptible to shot-ruining moire than Canon DSLRs (unless you want to pay $2950 for a 5D Mark III or $12,000 for a Cinema EOS 1D C).

In my view, the GH3 is the best value-for-money large sensor, interchangeable lens video-capable camera you can buy.

Hope this is helpful,

Bill
Hybrid Camera Revolution

[Mike Hinkel]

What is the best lens choice for overall shooting the Panasonic GH3 having to buy them one at a time?

[Bill Bruner]

Mike – I like my general purpose Panasonic 14-140 f/4.0-5.8, but it’s not splash proof. Although serviceable indoors (see NSFW video in my earlier post), it is not really the best lens for low light.

If you need a good indoor lens, and budget allows, get the 12-35 f2.8. I have rented this lens and it is made for this camera – fast, quiet and splashproof.

For the long end, you would want the 35-100 f/2.8 for similar reasons.

Hope that’s helpful,

Bill
Hybrid Camera Revolution

[Kevin Rag]

I agree with Bill. The 12-35 and 35 -100 are probably the only 2 lenses you’d need for the GH3. Great camera and really good lenses.

Kannan Raghavan
The Big Toad Films Pte. Ltd.

[Mike Hinkel]

Thanks guys! Important to know before I pull the trigger for the setup. Expensive enough without something I don’t need or have a use for.