Best Dslr Camera For Video Beginners – With the development of mirrorless camera technology, the distinction between still and video cameras has become even more blurred. There are many mirrorless still/video cameras available today that can capture images comparable to the standard of professional video tools, but at a fraction of the cost.
In this guide, we’ll explain the key technologies and features of today’s hybrid photo/video cameras to help you make the right buying decision. To help you navigate the jargon-rich world of video, we’ve created a glossary of terms that you’ll find at the end of this article.
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The most common video specification you’ll see for a camera is the output resolution, usually 1080p/Full HD, 4K or even 8K on the latest cameras. The latest TVs can display 1080p/Full HD, and the ability to display 4K video, which has twice the resolution, is becoming more common. Shooting 4K footage offers some flexibility in the editing process, even if your end result is 1080, but the files tend to be much larger and require more storage space and a more powerful editing machine.
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The same is even more true with 8K recording: it gives you some creative flexibility (in terms of cropping or stabilizing your footage) when outputting 4K video, but the storage and processing requirements are even greater. Most people will find good quality 4K more useful than 8K.
UHD 4K is four times the resolution of 1080/Full HD. The UHD 8K resolution is again four times higher.
These are the most common resolutions used in video. Full HD (High Definition), also called “1080”, is 1920 x 1080 pixels. 4K can refer to DCI (4096 x 2160 pixels) or the more common UHD (3840 x 2160 pixels), 8K also has DCI and UHD versions that double the resolution in each dimension to 8192 x 4320 pixels and 7680 x 4320 pixels respectively.
An important factor beyond the specified output resolution is how the images are captured: the best cameras capture resolutions greater than 4K and downscale to get a high-detail 4K output, but other models have to subsample (capture only some of the lines on their sensor). , or pixel binning), which produces a less detailed, more error-prone result. Finally, some cameras have to crop and use a small sensor area, which reduces quality (especially in low light) and means your photos are more “zoomed in” than the camera’s photo mode, making it harder to get a wide-angle view. This is a detail that most manufacturers don’t publish, so you’ll have to learn the jargon and read reviews to be sure.
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A final factor to consider is the rolling shutter: the wobbly, jello-like distortion of objects moving quickly past the camera. This is because cameras capture video line by line by scanning the sensor: on slow cameras, there is a greater chance that your subject will move and be in a different position as the camera captures the bottom of each frame. In general, cameras with smaller sensors read faster, so they are less likely to suffer from this problem.
Most videos are recorded at around 24 frames per second or 30 frames per second (25 frames per second is the standard for broadcast TV outside of North America). However, many cameras offer higher frame rates that can be used in a variety of ways. 60p movies can capture motion better, so it can be a good way to capture action sequences. Alternatively, you can capture at 60p or faster and then slow down to 24 or 30p for a slow motion effect. Most cameras can’t offer high frame rates at their highest resolution, but it’s not uncommon to shoot 1080 at 120 fps or faster, which can be great if your project doesn’t need to be 4K.
Another detail to check is if the camera has any recording limitations. Some models can only record 29 minutes and 59 seconds (an old limitation due to import duties), but most get limited simply because recording high definition video generates a lot of heat.
The processing required to record video generates heat, and most photo/video cameras do not dissipate this heat very efficiently, requiring them to be turned off to cool down. Professional camcorders have cooling fans, but most photo/video hybrids simply try to transfer that heat to the camera’s panels, where it can escape into the environment. The best of these designs can keep shooting for long periods of time, while other models let you disable their overheating limits (or at least make them less harsh). This is rarely a problem if you plan to shoot a lot of short clips for collaborative editing, but it won’t let you leave the camera on during a school night, especially if you’re trying to shoot in 4K or higher. High frame rates can cause similar headaches when it comes to heat and storage.
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Once you find a camera that records good video at the resolution you want, the most important thing to look at is the sound. Most viewers are more responsive to poor video footage than to one with poor audio, a factor that’s easy to overlook when photos are the bulk of your experience.
A microphone input is a must: Internal microphones in cameras are generally simple things that pick up any movement of the operator’s hands or clothing moving nearby, so you want to be able to connect an external microphone. The second most valuable feature is a headphone jack so you can control the volume and watch out for distracting background noise: the human brain does a great job of filtering out the sound of a car driving by or a plane flying overhead, but you’ll not being able to remove it from your audio recording when watching the video.
One of the biggest differences between today’s cameras is how reliably their autofocus works when recording video. Unlike still images, video captures all of the camera’s attempts to focus, as well as the moments when it is in focus, so you need a purposeful and reliable camera if you hope to trust it to autofocus while recording.
The best artists can reliably track your chosen subjects (especially human subjects) and let you decide whether to refocus quickly (so that a moving subject is in focus) or slowly and smoothly when you want to shift your attention from one subject to another. Autofocus depends on both the camera and the design of the lens you’re using, so it’s worth doing some research (and possibly testing) before you decide to rely heavily on autofocus.
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The small AF/MF switch in the center of the image represents the classic video dilemma: trust the autofocus or take control yourself. State-of-the-art cameras make autofocus much more reliable.
The alternative to autofocus is, as you might expect, manual focus. A lot of professional video is still shot this way. Most modern cameras allow you to use autofocus to set the initial focus position before you start recording, and then provide a “focus break” function that highlights the edges of the focus points in the scene. When used with the right lens (preferably one with linear focus response where the focus always changes as much as you turn the focus ring) and a little practice, manual focus is quite workable, but you can line up a lot of subjects so you don’t have to refocus often.
Focus Peaking added red to the most contrasting (sharpest in focus) parts of this image, making it easy to see what you’re doing when manually focusing the image.
In addition to peaking, most cameras allow you to “peek” into the video: providing a zoomed-in view of part of the scene to check critical focus. While almost all cameras turn on before recording, only a few allow you to zoom in to check focus again while recording, which is a useful option.
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Another useful video tool to look out for when learning about a video camera is the ability to put a Zebra pattern on the screen that shows a set brightness. It’s a useful tool for evaluating exposure and can be adjusted to check for overexposed areas or to check that skin tones are correctly exposed (correct exposure is much more important in video than in stills, where you can shoot Raw to keep some latitude for adjustments ).
One detail that won’t be mentioned on the camera manufacturer’s website is whether exposure and other settings carry over from photos to video. Ideal photo settings are often drastically different from ideal video settings, so we prefer to keep exposure, white balance and focus mode separate.
Even with separate (or resolution) settings for photo and video, it’s not uncommon to need to add blackout (neutral density) filters to your lens when transitioning from stills to video, but not having to adjust settings all the time can help switch back and forth a lot
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