10 Questions You Should Ask Before Buying a DSLR
By: Bill Pryor and Chris Poindexter
With DSLR's taking the video world by storm it's easy to forget there are a wide variety of camera choices available, both for video and stills. The right one for you will depend on what's the best camera for your budget and skill level. To help clarify the issues we've put together a list of 10 questions to ask yourself before buying a DSLR camera.
1) Are you buying a DSLR primarily for video or taking still photographs?
DSLR's are called "hybrids" for a reason. A still shooter might be tempted to get a hybrid on the off chance they might want to be able to grab a quick video clip some day. Another person, with a focus on video, might like the idea they can also shoot high quality stills with their video camera. Whether you shoot primarily stills or primarily video will influence the additional gear you will need and also which camera you purchase.
If you're not really interested in shooting video, you may be farther ahead with a less expensive camera. If you're primary focus is video and you don't have the time or desire to learn the craft, then you'd definitely be better off staying with a consumer video camera, many of which shoot very good video with little need for operator assistance.
2) Are you willing to make the investment in lenses?
In the world of high end video and photography it's not unusual for the glass to cost several times more than the box hanging off the end. DSLR's are no exception to that rule. The cost of the camera body is almost insignificant compared to the cost of high quality lenses. And you'll most likely need more than one. There are relatively inexpensive lenses that can turn out decent images, but build quality and user friendliness will vary.
Where you'll get into the real money are for wide angle lenses that are still capable of very low f-stops (in the neighborhood of f1.8). Those lenses are actually very difficult to engineer because of the size of the image sensor in most DSLR's. That engineering expertise and precision is reflected in the price tag. If you come from the part of the video world where professional 1/3" chip cameras are the standard, then you may have used nothing but cameras with fixed lenses that open up as wide as an f1.6 and may have a 20:1 zoom. You won't find the equivalent in the world of still camera lenses.
While many still photographers may use only prime lenses, most videographers who are moving to the hybrid cameras are using a combination of prime lenses and zooms. Which type of lens or which combination will be best for you depends on what type of shooting you will be doing. And while we're on the subject, are you aware that you won't be zooming during a shot with a hybrid camera? And you won't be using auto focus or auto iris while shooting. If you're a pro, you no doubt have turned off all the auto switches in your video camera. But if you have been using the auto features and zooming for an effect instead of for a focal length change between shots, then you may be taking on more pain with a hybrid than you'd like. Shooting video with a hybrid camera is more like shooting 16mm or 35mm motion picture film than it is video.
More about prime lenses here.
3) How much do you really know about shooting video?
It comes to a surprise to many still photographers that getting good video involves more than just flicking the switch from still to movie mode. You'll not only need to understand video, you'll have to understand the technical aspects of shooting video. Everything from angles and shot selection, to lighting, tracking, continuity, when to use neutral density filters and the limitations on shutter speed selection. If anything in the preceeding sentence comes as a surprise to you, if you don't already know those answers inside and out, you may want to be prepared for a steep learning curve. Most of the people getting the fantastic video you see on the internet, we're already video professionals before they got their DSLR's.
Despite the fact that most of these cameras have excellent low-light performance, you'll still need to understand the basics of lighting, particularly if you're thinking about some type of movie or series production. If you look at the some of the unlit shots produced with HDSLR's and DSLR's, many times they look like very clear but poorly lit shots. You're not going to be able to get away from lighting, regardless of the type of camera you have.
And, if you're a still photographer you are using shutter speeds to control exposure to a large degree. Too bright out there in the sun? No problem, go from 1/125 to 1/250. You can't do that when shooting video--if you're shooting 24 fps video, your shutter speed will be set at 1/50. If you change it you're asking for trouble. You'll need a set of ND filters every time you shoot outdoors. Because you can't change the shutter speed, like you might be used to doing in still photography, you'll sometimes need the ND filters to get the f stop you want.
4) Do you have an external sound recorder?
Most hybrid cameras have a built-in mic, but that doesn't mean you can use it. So far, all the hybrid DSLR cameras have auto gain that can't be turned off when shooting sound. There is a shareware hack for the Canon 5DMKII that can override the auto gain, and it's being developed for the 7D. In the meantime, most people are using a flash recorder and shooting double system sound, just like in film production. Fortunately there are inexpensive, small and light-weight recorders available, many of which will even attach to the camera's hot shoe. Shooting double system sound requires learning to do it properly and learning how to identify audio takes and sync them up when editing.
Some options include recorders like these:
Tascam DR-100
Zoom H4n (careful that it has the "n" in the name, the H4 was a different unit)
5) Do you have a data management plan? Have you thought about how you're going to handle data transfer on a shoot?
Hybrid cameras are tapeless. Some people consider tapeless to be better than the older tape/capture model, and others claim it's faster because you can drag and drop files instead of the extra capture from tape step. The downside is that you will spend more time in managing your data. When you upload your files to your computer, you're not finished. If they have any value at all, you must first make a reliable backup. Do you consider another hard drive safe? Will you use DVDs for storage? How much time will all of this data management take and are you prepared to do it?
Here are some options for external storage.
6) Have you considered other options such as 4/3 cameras?
The Canon 7D and 5DMKII cameras started the hybrid revolution and are incredibly popular. It was only near the end of 2008 that Vincent LaForet published his incredibly beautiful short that changed our world. The 24 fps 7D only came onto the market in September, 2009. If you hang out on the technical discussion groups you may think the Canons are the only hybrid cameras out there. However, Panasonic actually had the first 24 fps camera out before the 7D. It is the Lumix GH1, and it is one of the new micro 4/3 cameras. Its chip is significantly smaller than the APS-C chip of the 7D but significantly bigger than the chip in any typical video camera. There are advantages and disadvantages of each of the hybrid cameras, and a wise cinematographer will research all of them thoroughly before making a purchase. If you live in a city with a cine equipment rental house, it would be highly advisable to rent the camera you're interested in for a day before you commit to a purchase.
One advantage to some 4/3 cameras is the lack of a mirror box, allowing for some interesting creative possibilities. Also, because the chip size is slightly smaller and the angle more direct, you can get better edge coverage out of less expensive lenses. Ebay and Craigslist can be fertile hunting grounds for quality glass at bargain basement prices.
For more on 4/3 cameras go here.
7) Do you have a computer and editing system that can handle full frame DSLR footage?
The higher end hybrids like the Canon 7D, 1DMKIV and 5DMKII record in the H.264 format at 1920 x 1080. The quality of the footage is amazing. Also amazing is the amount of computer power you'll need to deal with it. Most editors convert the H.264 to ProRes (if editing on a Mac) or Cineform 422 (windows), which is a lot easier to handle and especially good if you do a lot of color grading or other effects. This, of course, requires lots more hard drive space. The Panasonic Lumix GH1 records in an AVCHD Lite format, which also must be transcoded; and, if you're on a Mac you will need an Intel Mac in order to edit any AVCHD, even the Lite variety.
8) Are you prepared to accept the limitations of the camera?
All cameras have limitations, even the high end beasts used by major studios. It should come as no surprise that a camera that sells for under $2,000 (USD) is not going to be perfect. You have to learn the limitations of the camera and of the lenses you have, as well as the particular setups you choose. It is a mistake to take delivery on a shiny new DSLR the day before a big shoot. If you've always done a lot of hand held shooting, you may be frustrated with a hybrid. You've got to be a lot steadier and avoid fast pans. Most of the time that will mean having a tripod, monopod, shoulder mount or some other type of steady device.
Different DSLRs have different advantages and disadvantages. Research your camera thoroughly before the purchase.
9) Do you have the money to invest in lights, scrims, c-stands and other support equipment?
It's common for budding filmmakers to see a movie like Cloverfield and think that they can buy a camera and go make a movie. That's a mistake. Any time you see a guy running around with a camera in a movie...that camera is a prop, it's not real. It takes a wide variety of lights, tripods and other support gear, dollies, Steadicams, sound recorders, microphones, audio support gear, gels, scrims, cords, clamps, C-stands, gobos, and on and on. The camera is only the tip of the iceberg. If you can get a camera and all the lenses you need for, say, $2500, you will easily spend double that or much more for the other supporting equipment you'll need.
Additionally, you'll need to purchase attachments for the camera over and above lenses. Because the Canon cameras are single lens reflex cameras, the mirror locks up when the shutter fires. When shooting video, the mirror has to stay in its locked up position. That means you can't use the viewfinder, only the "live view" mode of the LCD. This makes it difficult for hand held shooting and almost impossible to shoot in bright sunlight. The solution is to spend from $200 to $400 on one of the LCD hood attachments. Some have a diopter, some don't. Some are structurally sound in the way they attach to the camera, some can be knocked off easily.
There's no top handle on a DSLR as there is on a video camera. This creates more awkwardness than you might think. There are solutions out there, from a simple lower plate and handle bracket, to elaborate cage-like setups that can cost more than the camera. The style of shooting you do will determine how much money you'll need to spend on these attachments.
10) Are you willing to take time to read the manual?
You do not unpack a new hybrid camera and immediately go out and shoot professional quality video. It's a professional camera, and that means you have to learn all about the settings and controls and set it up for the different looks you'll want. Before the shoot. You have to not only become familiar with how to use the camera, you must also learn how to tweak it for optimum image quality under different conditions. While this Question No. 10 is our final question, it is also the one you should answer first. And, there's more to reading the manual than reading the manual. You'll probably find the video portion of the manual a bit thin--but lots of the good stuff will be in the still photography section. Without taking the time to learn about your camera, you will never be able to master it the way you'll need to if you want professional results for every shot.
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