Stu Maschwitz on video-capable DSLRs, like the D90 and the Canon 5dMKII -
Along come these video-shooting DSLRs, with enourmous sensors, the wrong form-factor for video, and none of the features that turn an DVX100 into a battle-ready companion. They make awesome images, but they do so at the expense of the operator. When you only see the images, these cameras seem like they must be the best thing going. But the images are the result of a process, and that process is painful. It’s up to you to decide if sexy DOF is worth giving up control.
It’s a sensitive topic among filmmakers. Which camera is better—the one with sexier images or more control? That’s not to say a D90 is unusable for shooting a movie (Judson Collier and a couple friends are shooting a short movie for a film festival on it), only that it isn’t ideal. And when we get into the world of professional videographers, ideal is everything.
There is a reason there haven’t been a convergence of video and DSLRs until the last few months. Not because of a technical limitation, but because it’s impractical. The form factor for photography is completely different than that needed for videography.
Photography is more than simply image quality. It’s about capturing an image on the spur of the moment that says something. And that takes a photographer that is completely in control of their camera.
This Thursday, when RED reveals their new cameras, I’ll be looking at features and specs along with everyone else. But I’ll also be evaluating whether these cameras seem to be filmmaking companions that allow me to craft an image intuitively and effortlessly. The camera should disappear, leaving only me and the images that, for better or worse, I created.
I’m intrigued as to how they will overcome the challenges that Nikon and Canon are facing, and how their products will work for professional photographers and videographers.
