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DSLR What?

In case you haven’t heard, the DSLR revolution is over.

And in case you’ve never heard of the DSLR revolution, it all started with the Canon 5D Mark II, which was the first Digital SLR (still camera) to take 1080p video back in September 2008. While 1080p recording may not seem revolutionary, HD video camera were already doing this, the image was the revolutionary thing. They images were gorgeous and film-like. The shallow depth of field and the dynamic contract you could get from the images were simply beyond anything even close to that price range (the camera body was around $3,000).

Shallow depth of field is referring to how much of the image is in focus. When you watch some scenes in films, you’ll notice that the subject is in focus but the background is nicely blurred out. This focuses your eyes on the subject. This shallow depth of field gives images that pro look.

Dynamic contrast is a fancy sounding term that really means the range of brightness that will show up on your video recording. Cameras with better dynamic contrast can show all the colors from the very dark to the very bright. This is a great feature, because if you’re filming on a sunny day for example, you’ll still be able to see the blue sky as well as items in the shade. With a camera not so good with dynamic contract, you will only be able to get detail in one or the other.

BIGGER IS BETTER

The reason these DSLR still cameras can take such amazing video is that they have a massive image sensor in comparison to a regular video camera.

The image shows the different size of sensors on cameras. Video cameras had the tiny small boxes in the left hand corner.  Now it’s easy to understand why the picture quality with DSLR cameras is so good!

NOTHING IS PERFECT

Along with the strong point of high quality images, there, of course, has to be a downside!  There were, and are, many problems with DSLR cameras.

• Audio: They don’t have professional audio inputs (xlr or 1/4 inch) and most don’t have good manual controls
• Record Time: Many have a 12 minute limitation, while other give you longer (you can press record again after it stops recording, but you can’t record long lengths continuously)
• View Finder and LCD Screen: There is usually only a LCD screen, which you can’t often rotate. Video cameras usually have both a rotating LCD screen and a viewfinder
• Zoom Control: DSLR’s don’t have the zoom rockers, that make it easy to zoom in and out
• Interchangeable Lens: Many people who own video cameras under $10,000 have only one fixed lens. DSLR cameras have interchangeable lenses, meaning you can swap out your lens. While this is generally a good thing for creative and professional people, different lenses are better for different shots, extra lenses = extra money and makes you slower to react to changes when you have to switch from one lens to another.
• Focus: The only practical way to focus is manually. There is some auto-focus, but they are not good like on a video camera
• Depth of Field: This is generally an advantage, but the shallow depth of field makes it harder to keep images in focus, especially during live events
• Editing: The most popular DSLRs, Canons, encode using the h.264 codec. This codec was not meant to be an editing codec, and thus it is harder to edit as it takes more processing power from your editing system (thus things take longer and may not be real-time like your video camera footage)
• Peaking and Zebras: Peaking sharpens an image, allowing you to focus easier while zebra stripes highlight parts of the image that are overexposed (too bright). This features is not generally available on DSLR’s
• ND Filter: Many prosumer / professional video cameras have a ND (neutral density) filter that shades the lens for bright shooting, like on a sunny day. DSLR’s do not have this built-in

Despite that lengthy list, the image couldn’t be beat… until now. I say the DSLR revolution is over because certain video cameras now come equipped with DSLR sized sensors, such as the Panasonic AG-AF100 and the Sony NEX-FS100. Now, these camera still have some of the same issues, but they also allowed for some fixes:

• Audio: Professional XLR inputs and manual audio controls
• Record Time: With the digital cards, you can record for many hours continuously
• View Finder and LCD Screen: The AG-AF100 has both, the NEX-FS100 only has a LCD (but it comes with a viewfinder add-on)
• Interchangeable Lens: They have the kit lens with auto-focus that you are used to, as well as the ability to put on different lenses
• Editing: They use the AVCHD codec, which work better with editing systems
• Peaking and Zebras: The cameras have them
• ND Filter: The AG-AF100 has one, the NEX-FS100 doesn’t

So, for anyone who is used to shooting with a regular video camera, switching to a large sensor video camera such as the AF100 or FS100 will be easier than switching to a DSLR camera. It should be noted, that a large reason for the popularity of DSLR video cameras is also their price points. You can literally purchase a DSLR body and lens for $1,000 and shoot amazing quality video. Something you can’t do with a regular video camera. The large sensor cameras are in the $5,000 price range, so more expensive of course, but if you are shooting for a living, it may be a necessary extra expense.

If you weren’t aware of these developments in the video camera world, you better get educated fast, as you will begin to see more and more video productions being done on these large sensor cameras with interchangeable lenses. The quality and creativity will ensure this.

Greg Lam operates a Vancouver Video Production studio called Small Biz Doer Videos and is an executive member of the BC Professional Videographers Association, the largest association of its kind in Canada. He also operates a small business website called the Small Business Doer that provides insight and advice to small business owners, with many of the articles being video articles of course!

If you are looking to set up a simple but effective video studio in order to crank out lots of video content quickly, then you might want to consider the  Datavideo SE-2000 HD Video Switcher HDR Kit.  It’s relatively inexpensive and eliminates the need for separate monitors.

When  you buy the kit from B&H Photo, it comes with everything you see in the picture.

• DataVideo SE-2000 HD-SDI Switcher with multi-display unit
• HDR-50 SD/HD-SDI Hard Drive Video Recorder
• RKM-2000 holder

The SE-2000 switcher combines 1 or 2 DVI-D computer sources and 3 or 4 HD-SDI sources and is suitable for small live production venues to use up to 5 inputs. It has a built-in audio mixer, which has 4 audio follow video inputs (microphone or line) and 2 audio outputs.The multi-display output of the SE-2000 switcher includes each source, preview display, program display, PiP, and a digital clock display. The unit has 5 user-defined memory settings and title overlay, and can also store and recall 28 different logos.

The SE-2000 HD-SDI Video Switcher from Datavideo is a switcher that is designed to manage HD-SDI and DVI-D signals. It can be used to switch up to (6) inputs to the unit’s program or preview output.

• This unit features (3) dedicated HD-SDI, (1) dedicated DVI-D, and (1) switchable HD-SDI or DVI-D input.
• Input signal can be sent to the program outputs (HD-SDI and HD-YUV format) or the preview output (DVI-D multi-image with digital clock display).
• DVI-D support is included for PowerPoint, simple titles, and similar applications.
• Insert up to (14) pre-stored logos with resolutions up to 128 x 96.
• Includes four-input audio mixers with XLR connectors.
• Supports audio-follows-video switching.
• Other features include: luminance key, picture in picture, freeze image, and black.
• Unit features (5) individual speed keys for instant selection with take effect and (5) user presets.

Includes tally output.

Can be managed via RS-232 control.

Features (13) transitions with borders.

Switcher by itself is priced at $4,512.  The kit with the HDR-50 recorder (pictured below) and the holder goes for $6,768, which is slightly less than if you bought them all separately.

The HDR-50 Rack-mounted Hard Drive Recorder with removable hard drive enclosure records from standard and HD video devices through SDI with HDMI output and convenient SDI loop- through. Ideal for studio desktop applications, the HDR-50 supports 1080i, 720p, 576i and 480i recoding formats and allows you to select IBP or Intra-frame (i frame) in HD, and IBP in SD. The recorder records files in .M2T format, which is compatible with a wide range of NLE and play-out solutions.

The Datavideo HDR-50, pictured by itself above,  is a rack mountable digital video recorder and player designed to record in DV and HDV. The unit can record up to 18 hours of continuous footage without a hitch, saving both time and money. Gone are the days of a costly tape-based workflow, which usually wastes hours of valuable time logging and capturing. Simply hook the HDR-50 to your nonlinear editing workstation and transfer the files.

Fully Digital Signals

The HDR-50 has both SDI (serial digital interface) and HDMI, which allows the transmission of fully digital high definition video.

Rack Mountable

The HDR-50 is a rack mountable version of the HDR-40, taking up only 1RU in any standard 19″ system. The unit is ideal for small studios and editing workstations.

Interchangeable Drives

The deck uses a specially designed 250GB interchangeable drive, making it easier to capture large volumes of footage without having to dump to an external storage device before reusing. Simply pop out the full disc and throw in another!

Native DV and HDV Support

The HDR-50 has been built to meet the growing demand of high definition videography. The unit has complete native support for the HDV format as well as being capable of legacy recording of standard DV (in .M2T files).

Loop Playback

The HDR-50 can be used in promotion applications by using loop playback. The feature allows users to loop video clips seamlessly, making it ideal for commercial environments.

NLE Support

The recorder supports most nonlinear editors, including Adobe Premiere Pro, Sony Vegas, and Avid Media Composer. Dragging footage onto your timeline couldn’t be easier! Just drag and drop files from the drive to your computer (PC or Mac) in second

Fully Digital Signals

The HDR-50 has both SDI (serial digital interface) and HDMI, which allows the transmission of fully digital high definition video.

Rack Mountable

The HDR-50 is a rack mountable version of the HDR-40, taking up only 1RU in any standard 19″ system. The unit is ideal for small studios and editing workstations.

Interchangeable Drives

The deck uses a specially designed 250GB interchangeable drive, making it easier to capture large volumes of footage without having to dump to an external storage device before reusing. Simply pop out the full disc and throw in another!

Native DV and HDV Support

The HDR-50 has been built to meet the growing demand of high definition videography. The unit has complete native support for the HDV format as well as being capable of legacy recording of standard DV (in .M2T files).

Loop Playback

The HDR-50 can be used in promotion applications by using loop playback. The feature allows users to loop video clips seamlessly, making it ideal for commercial environments.

NLE Support

The recorder supports most nonlinear editors, including Adobe Premiere Pro, Sony Vegas, and Avid Media Composer. Dragging footage onto your timeline couldn’t be easier! Just drag and drop files from the drive to your computer (PC or Mac) in seconds.

An audio mixer is a critical component of any video studio.  All of your audio sources are fed into your audio mixer and the output of the audio mixer is what is recorded or broadcast.  So each and every microphone, plus any CD players, DVD players, etc., will be connected to your audio mixer.

Mackie 802_VLZ3 Audio Mixer with 8 Channels retails for just under $200.

During the live shoot, the person responsible for audio will control the board, turning signals on and off as needed.   In addition to simple video production, this mixer is also good for small  musical bands.  (Some of the inputs feature  line/instrument switchable inputs for guitarists).  Plus, the 802 VLz3 is small, easy to operate and durable enough for mobile production situations.

The 8-Channel Mackie 802-VLZ3 is a really good yet inexpensive component to choose for a simple video studio.  Eight inputs is indeed enough, it’s simple to use, plus the price ($199.99) can’t be beat.   Even if you use a computer-based system that can handle both video and audio inputs, many people still opt to get an audio mixer and just do their video mixing through the computer.   In part, that’s because having both your video and audio controlled by one computer can get difficult during a hectic live video production where they really need to be controlled by two different people.  Plus, lots of folks find using a mouse-driven audio control is less responsive compared to the easy-to-control up and down knobs found on an audio mixer.    IMHO, that is very true.

The Mackie 802-VLZ3 Eight-Channel Compact Audio Mixer   advertises itself as “an affordable and intuitive mixing environment for home recording, rehearsals, and general mixing applications.”

The 802-VLZ3 has 8 channels total with 2 mono line inputs, 3 stereo line inputs and 3 XDR2 microphone preamplifiers. The mono line inputs are switchable between instrument and line signal, making the mixer guitarist friendly. A 3-band EQ is featured and its compact design is reliable and road-worthy.

Here is a chart listing the specs of the Mackie 802-VLZ3

Total # Of Inputs	8
Mic/Line Inputs	3 x Balanced XLR Mic 2 x 1/4″ Phone Line/Instrument 3 x 1/4″ Phone Line Stereo
Stereo Line Inputs	1/4″ Phone Line L/R Stereo
In-Line Inputs/Returns	No
AUX Sends	1/4″ Phone TRS Stereo
AUX Returns	1/4″ Phone L/R Stereo
Inserts	1/4″ TRS Phone (mono inputs 1-2)
BUS (Group) Outputs	ALT 3/4 – Stereo L/R 1/4″ Phone
2 Trk Master I/O	Main – Stereo L/R 1/4″ Phone and Balanced XLR Rec – RCA Phono I/O
ALT I/O	No
Monitor Outputs	1/4″ Phone TRS Headphone
EQ Section	3-Band
Solo/Mute	Mute and Solo
Channel Level Control	Rotary Dials
Trim/Gain Control	Microphone Gain
Phantom Power	+48V Switched Globally
Metering	Stereo Peak LED
Frequency Response	20Hz – 50kHz
Dynamic Range	Not Specified by Manufacturer
Signal-to-Noise Ratio	-103dBu
Total Harmonic Distortion (THD)	< 0.005%
Power Supply	13W
Dimensions (HxWxD)	10.7 x 8.9 x 1.8″ (273 x 227 x 470mm)
Weight	4.5 lbs (2kg)

The Datavideo SE-500 Video Swithcer Kit comes with the dual LCD monitors with quad function and mounting rack. Kit retails for around $1,900.

First, if you want to learn more about the pros and cons of studio video production, click this link.  In short, studio production is a much faster way of cranking out major quantities of video content.   A studio has multiple cameras and microphones and is edited live, on the fly.  Compared to basic field production, with one camera and lots of time-consuming post production editing, studio production is fast, easy and cheap.
Using a switcher is sometimes called spontaneous editing and the time savings over post production editing is HUGE.  Let’s say you’re doing a 30 minute show.  If you’re doing it studio technique, you get to the record stage and 30 minutes after starting, you have a completely finished show.  On the other hand, editing a 30 minute show out of raw footage in any video editing program would take hours, even days or weeks.  In the professional world, we always allow AT LEAST one hour of post-production time for every finished minute of video.   30 minute show = 30 hours of editing MINIMUM.

Churches, small eCommerce sites, and schools would all be good candidates for a machine like the SE-500 kit.

WHAT IS A VIDEO SWITCHER AND WHAT DOES IT DO?

A video switcher is the heart of any TV studio.  Every single video source in your studio is plugged into the video switcher.  The person operating the switcher (usually the director) controls which video source is seen at any one time by punching and controlling the various buttons, knobs and levers.  The director can use the switcher to add some basic special effects and either cut between shots, or select a dissolve or any number of wipes.  Some switchers have green screen capability and some do not.   The more expensive ones includes lots of special effects but the inexpensive one are limited.
In a large TV studio operations, you would need a switcher with 20, 40, even 80 inputs.  You have all the cameras, multiple graphics generators, special effects generators, multiple video tape decks, multiple weather maps, satellites, etc. all plugged into the video switcher.   This picture is an example of a switcher with a possible total of 31 inputs, the For-A HVS-3800HS.  It retails for $66,999.95 at B&H Photo Supply.  Here’s a picture of it.

Compare that massive beast to the subject of today’s post, the humble Datavideo SE-500, which has four inputs.  Any four video sources can be plugged into it.  Let’s say you have two cameras, a graphics generator and a video playback deck for inserting videos.  Or, you could have three cameras and a graphics generator.  For simple video productions, this is enough.   A small switcher like this is also limited in terms of special effects but it doesn’t cost 67 grand either!  This picture below is the switcher all by itself with out the monitors and mounting rack.

FEATURES

In addition to the four video inputs, the SE-500 has three audio inputs, two for microphones and the third for a CD player or tape deck.  Each input has a slider control.  Theoretically this means you can get by without buying a separate audio board.  However, most people do, especially if you are doing talk shows with five or six people who all need a mic.  It is also a bit easier logistically speaking to have the audio and video under separate controls with two people and not just one.

BIGGEST DRAWBACK

One drawback of this unit is that it only handles SD (standard def) video and not HD (High Definition).  However, SD with good lighting looks better than HD with crummy lighting and few people seem to understand that!  SD is still good for a lot of things, especially internet use where you do not want gigantic files.   If you want HD, you can move up to the Datavideo HS-2000.  It not only handles HD, it comes with head sets ad handles more donuts.  Downside to all of that of course is money.  The HS-2000 cost about 4 times as much.
One cool feature is that the SE-500 also has a quad split monitor output.  This means the user can preview each input on one single monitor that is split into quarters.  This is really convenient, less expensive and takes up less space than  having a separate monitor for each and every video source.  If you get it with the duel monitor rack that comes as part of the kit, you can have one of those screens show 4 inputs.  Look carefully at the picture and you can see that the one on the left is showing 4 inputs.

MORE FEATURES AND A USER EXPERIENCE

The SE-500 can’t do green screen, but it can do picture-in-picture.  Picture in Picture transitions can even be  programmed to position in various parts of the frame.
Here is a quote from a satisfied user of the Datavideo SE-500 Live Production Switcher:

Using this in a church setting. Works great. We currently run two inputs, 1) Camera, 2) Media Shout.(Church and worship niche specific software)

Purchased kit with the  dual 7″ LCD display panel.  The unit has several different abilities for PIP (Picture in Picture), which is nice if you want to place the media shout slides down in one corner as the videos are running through.
There is an audio control as well, where you can run the audio from say your sound board to the unit as it then heads out of the unit to its final destination (in our case, several Lobby TV’s and an encoding server).
The slider handle feels good in the hand (some have mentioned it did not feel as if it had “weight” to it). There is enough resistance that it allows for smooth transition.

All in all, we are quite happy with it. Would like to have gone with HD (this unit supports SD only), but that bumps you up several thousand more.
Only down side, the documentation could have been a bit better on hooking everything up for a first time user.

Conclusion

All in all, the Datavideo SE-500 is an excellent choice for folks on a budget.  Schools, churches, small internet operations would probably all be pleased with the results from using this video switcher.  Granted it does not have all the bells and whistes, if you’ve got more money, go with something more advanced.  The picture below is the But if you’re on a budget, this is a good choice.

Datavideo is a quality supplier of video equipment and I have used tons of stuff from them over the years.  Never had an issue with any of it.

Thanks for reading Video Production Tips!

Lorraine Grula

Video demonstrating the Cinematix LED 150 camcorder light.

I must say, the Cinematix LED 150 camcorder light is a dandy gadget.

It mounts on top of your camera and runs off any one of five different kinds of battery.  (Including standard AA)

Its light output is rated  the equivalent of a 160 watt tungsten halogen lamp (bulb) but the Cinematix LED 150 is only 9.6 watts.

With LEDs, no energy is wasted generating heat.  Every bit is going toward producing a bright beam on for this camera-mounted light.

One of the most amazing things about it is the fact the five different batteries will power the Cinematix LED 150.

• Standard AA
• Sony Lithium- 3 sizes
• Panasonic Lithium-1 size

A full charge will last up to three hours, which is an awfully long time compared to what a tradition tungsten lamp would suck up.

Another comparison that shows traditional tungsten halogen inferior to the newer LED style is lifespan.  LEDs are predicted to 30,000 hours, which is eight hours a day for ten years!  Even if that prediction proves overly optimistic, a tungsten light would burn out a few months of heavy, daily use.

From a user’s standpoint though, not scorching your fingers is one of the best features of LED.

One of the big drawback to LED lights has been the cost.  Naturally!

The Cinematix LED 150 is much less expensive than similar Lite Panel models that have been on the market longer.   List price for a similar Lite Panel was $450 at Amazon.  Used ones were selling for over $300.

I got this Cinematix LED 150 for $159 from Image West. It comes with three filters.

• Diffusion
• Amber
• Pink

My biggest disappointment with the light was the diffusion filter. It barely did anything!  For diffusion, it was really next to worthless.  The amber and pink did what they are supposed to do, which is color correct the light if needed.

By itself, the Cinematix LED 150 is white balanced for daylight.  The amber and pink will bring that down to match light that’s more orange, like tungsten.

The filters come with the product.  With more expensive brands you often have to purchase the filters separately.  So I guess I will forgive them for making the diffusion filter to weak.    Overall the light was not terribly harsh.

Video camera lights are great tools for field use.  You’re down in the bottom of a cave.  No place to plug in!  An on-camera light is your only realistic option in a situation like that.  No one wants to haul a generator down into a cave.

Camcorder lights are also great for run-and-gun style videography.  No cords, no hassles.  Go ahead and run after that crooked politician who doesn’t want his shot taken!

Used outside, this is a great fill light for the sun. If you’re close enough to your subject, an on-camera light will do a lot to fill in the deep shadows created on a bright, sunny day.

If you’re using a small camera that doesn’t have a standard shoe mount, which is what the Cinematix LED 150 mounts onto, then you can purchase a separate adapter.  The adapter can be out on an arm that swivels in order to give you some leeway with placing the light.

On-camera lights are notorious for giving that flat, light-in-you-face look, but if you use the swivel arm you can take it off center to give your lighting some depth.

All-in-all, this is a handy gadget for field videography.

Thanks for reading VPT

Lorraine Grula

The Canon XH-A1 records a gorgeous high resolution image, using three 1/3″ 16:9 interlaced CCDs that capture images at 1080i resolution. On the practical side, you can shoot SD with this camera too.

For the advanced videographer, the XH-A1 Canon camcorder features selectable frame rates of 60i, 30 Frame and 24 Frame. 30 is standard for broadcasting, but you get a different look and feel to those differing frame rates and professionals like to have the flexibility.

To get the look and feel of motion picture film, use the 24 Frame rate. The 60i frame rate is well suited for slow motion effects.

The XH-A1 shoots video on miniDV cassettes. MiniDV is a fantastic format IMHO. Editing systems all accept MiniDV and it’s nice to have what you shoot on its own little back-up and storage system. Especially if you are shooting pro. Sticking with miniDV tape instead of going tapeless saves you the trouble of having to store and capture important client footage that needs to be kept.

Tapeless is cool, I like it.  But, in all honesty, you often do not really get the time savings they boast about in transferring your video.  So many folks still like the miniDV format.

The XH-A1 captures still images (not video) onto a removable memory card. You can use any of the following:

• Secure Digital High Capacity (SDHC)
• Secure Digital (SD)
• MultiMedia Card (MMC)

The XH-A1 is an updated version of the award-winning XHA1 HDV camcorder that everybody went gaa-gaa over a few years back. This update is even nicer.

The Canon AH-A1 image sensing mechanism contains three large CCD chips. (Three 1/3″ Native 16:9 CCDs at 1440 x 1080 Interlaced). These robust chips give a sharp, well colorized image.

For audio, you have two XLR inputs and a headphone jack.  That is so important!  Wear headphones to make sure the audio you are picking up is good.

Something I’d never seen before, the flip-out LCD rotates enough to be capable of being viewed from both sides of the camera. That sure would be nice and save your neck from getting too twisted up.

The camera gives you two built-in neutral density filters, a 1/6 density and a 1/32. If you shoot outside a lot, these can be very handy.  Neutral density filters are used to knock a bright light level down so you can better control your depth of field.

Variable shutter speeds allows the advanced videographer to get crisper slow motion and freeze frame images. Variable shutter speeds can also let you eliminate the annoying scan lines you get when videotaping older models TVs and computer screens.

The Speed Range of the AH-A1 under your control includes:

60i/30f 1/4, 1/8, 1/15, 1/30, 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, 1/15000, CS (Clear Scan)

To get a brighter image in low light, video cameras inject what’s called “noise” into the picture. Noise consists of tiny white dots that give the illusion of a brighter picture. Noise is also referred to as grain. The grainy video image is full of noise.

To shoot in low light, cameras at this level allow you to increase the grain, or noise in the picture. It’s called the gain and is referred to in decibel measurements. (dB=decibel=noise)

The XH-A1 give you extensive control over the variable Gain Selection as follows:

-3, ±0, 3, 6, 12, 18, 36dB

This is a fantastic camera.  If I were going to buy a brand new video camera today, I think this would be it.  And I like them ALL!

To see the Canon XH-A1 video camera at B&H Photo, click here.

Thanks for reading VPT!

Lorraine Grula

Internet Video Gal

This tutorial will show you how to navigate their site to research whatever video equipment you are interested in.

You can learn so much about video production gear just by cruising through the B&H site.

You not only have easy access to all the technical specs and advertising descriptions, you also have access to loads of customer reviews.  We all know customer reviews from objective folks who shelled out their hard-earned cash and actually used a piece of gear will give you much more realistic information to help you make purchase decisions.

Naturally you want to be able to see what you purchase.  The site give you multiple photos of each item, often with good close-ups of small details.

If you are looking to buy or research video production equipment, the B&H Photo website can be a fantastic tool.  I hope my video tour will help you get more out of it.

Thanks for reading Video Production Tips.

Lorraine Grula