In this post, we’ll show you seven essential tools for solo film projects. They’ll not only make your life a lot easier, but they’ll also elevate the final cut.

Filming by yourself might be a creative choice or constraint. Either way, being able to control your gear from a distance, or even automatically, is of utmost importance. The recommendations below reflect that principle. 

1. Choosing a Camera with the Right Features

The camera you choose is going to be a very important factor in the ease at which you can create a project on your own. Auto-focus and the ability to flip out the screen are going to make a big difference especially when you’re filming yourself. 

Flip-Out Screen

If you’re shopping for a new camera, and you know you’ll be shooting a lot of videos solo, having a flip-out screen on your camera is going to be very beneficial. Being able to see yourself when you are framing your shot will speed up your process. You can also check your surroundings and yourself in real-time when the screen is facing you. 

Additionally, having a moveable screen helps you behind the camera as well. Tilting the screen to counteract glare, using it to shoot high or low, or any situation where you can’t get your eye to the viewfinder. 

Autofocus

Simply put, auto-focus allows the camera to pull focus automatically either through phase detection, contrast detection, or a combination of the two. While most if not all of newer cameras have autofocus systems built into them, it’s important to remember that not all are reliable and not all lenses support autofocus. Furthermore, camera systems with face detection, like Canons Cinema line, will provide even more with autofocus accuracy. Whether you’re shopping for a new camera or using what you already have, be sure to do plenty of research and tests to see what works best for you. 

However, If you’re using a lens or camera without autofocus or a flip-out screen, there are other more advanced solutions you can turn to, which we’ll cover below. 

2. External Monitor

What’s better than a flip-out screen when filming solo? A bigger separate screen you can use with your camera, also known as an external monitor. This larger screen will allow you to see your scene more clearly, identify any objects that are out of place when doing final checks, and give you a better idea of how your final footage will look.

In addition to those improvements, some external monitors have overlays for different compositions and potential crops. This comes in handy when you’re shooting for multiple platforms that need to be cropped in different ways. Lastly, external monitors typically have a much brighter screen than your camera screen, making outdoor filming a breeze. 

3. Lens Control System

If you don’t have a camera with reliable autofocus, a lens without autofocus, or want to use a very specific type of lens, like an anamorphic lens, then a wireless lens control system might be for you. Wireless or remote focus systems allow you to pull focus from a distance. It pairs a control motor with a separate focus handwheel to free you from the camera. 

These systems range in complexity and features as well. Some are simply a knob style handwheel, while more advanced systems come with accessories for attaching to gimbals, controlling zoom and focus with separate mechanisms, and lens mapping capabilities.

4. Camera Slider

No matter what type of video you’re creating, camera motion can add a whole new dimension to the story you’re telling. The question is, how can you add reliable camera movement when you’re shooting on your own? One answer is motorized camera sliders. 

A camera slider is a set of tracks with brackets that mount to a tripod, light stand, or be used completely on its own. It allows you to get tracking or dolly shots that create a sense of movement as the attached camera moves along the tracks. 

Things get really interesting when you get your hands on a motorized slider. These gadgets offer more control than the typical slider. You can program these sliders at different speeds, set automatic time-lapses, and of course, control it all remotely, which is going to be very useful when you’re filming on your own. 

In addition to a normal slider, in recent years, motorized tripod heads have been making a name for themselves in the video world. These 4-axis motorized heads allow you to pan and tilt the camera smoothly with joy-sticks or through an app. Combined with a slider, you can create some really dynamic shots. Check out this video from DSLR Video Shooter on sliders and motion systems for more details on their benefits and how to use them.

5. Basic LED Light

When it comes to lighting, there are a lot of options out there that may work well for you. While daylight may be a natural collaborator for a lot of projects, it isn’t quite as reliable as you may want. 

A remote-controlled LED light is an amazing option when working alone. Similar to many other options on this list, being able to make adjustments remotely is going to be immensely helpful and save time. 

LED lights have a range of additional benefits as well. Compared to their incandescent or fluorescent counterparts, LEDs are more energy-efficient, longer-lasting, run at a cooler temperature, generally more durable, and some can emit a full range of colors.

6. Teleprompter

Memorizing a script is a skill that some can do with ease. For the rest of us, we would recommend investing in a good teleprompter. For those who don’t know, a teleprompter is a device that many video productions use as a way to have a heads-up display of your script right in front of the camera. You’ll need to pair your prompter with a teleprompter app on your tablet or smartphone to get this to work flawlessly.

We use one here at SproutVideo, and believe us when we say it does a phenomenal job to help deliver a message concisely. We use the One Take Only Pad Prompter and the PromptSmart Mobile app. For more on delivering your message flawlessly on camera read our full post on how to deliver your message.

7. 360 Camera

360 cameras were extremely trendy for a while but eventually lost their luster. Although many forgot about them, a 360 camera could be the perfect tool for your solo kit. They are made to capture literally everything around you and then let you create a video that stays close to the action. 

They are really great for filming behind the scenes, tutorials, action, and so many other scenarios. You get to worry less about getting the shot because you know everything will be captured with a 360 camera. For a full rundown on 360 cameras, check out our How To Video episode featuring Tom Pagut, SproutVideo’s customer success lead, who has been using 360 cameras for years.

The right gear is a huge part of creating captivating stories through video. Whether you are on your own or working with a huge crew, the items listed above are sure to help you execute your creative vision. In the comments below, let us know how you’d use some of the items on this list to improve your video workflows. 

The post Top 7 Tools You Need to Elevate Your Solo Filming Projects appeared first on SproutVideo.

In this How to Video episode, we’ll be taking a look at all things white balance. We’ll explore what it means, the science behind it, and suggest some tools you can use to achieve your desired look. 

In the video below, Nick LaClair, Creative Director at Sproutvideo, will walk you through everything you need to understand about white balance. 

What is White Balance?

White balance is one of the most well-named camera functions. It quite literally means the process of setting the color temperature of your video so that it matches what our eyes see. In other words, finding the balance to make objects look the way they are supposed to look, or not look if you’re going for an artistic vibe. It’s finding the sweet spot between an image being too warm and too cold. 

The Science Behind White Balance

To get a true understanding of how and why white balance is important, it helps to understand the more in-depth science behind how light interacts with everything. 

Temperature Ranges

As mentioned above, the goal is trying to find a balance between warm and cool tones in your footage. White balance measures the differences in color temperature with Kelvin. You might remember hearing about Kelvin back in science class. Kelvin is the base unit of temperature in the international system units of units.

Kelvin differs from Celcius and Fahrenheit in that it uses molecular energy given off by objects to describe extremely cold or hot temperatures. The coldest point being absolute zero or 0K, a point where even atoms stop moving. 

One example to help illustrate this idea is the use of infrared night vision goggles or cameras. The photo below demonstrates this perfectly.

The people give off a certain level of energy since their temperature is around 98 degrees Fahrenheit or 309 Kelvin. You can see them glowing brighter than the cooler backdrop behind them or the suitcase. 

You might be wondering what molecular energy has to do with photography. Measuring white balance uses these same principles. The color temperature we use for cameras is based on the principle that certain objects emit light at specific frequencies that can be measured on a temperature scale. For example, the photosphere of the sun has an effective temperature of 5778 K, so the color temperature of daylight is around that number.

Temperatures below 4000 Kelvin are more reddish, while temperatures that approach 6000 Kelvin and above are very blue. This chart shows some of the common light sources you may encounter, and places them on a Kelvin scale, with tungsten being the warmest and outdoor shade being the coolest. 

Our brains are wired to adjust to changing light values very quickly. For instance, think of your eyes adjusting when putting your phone in night mode, or stepping inside on a bright sunny day. Cameras need a bit more help, which is where the white balance settings come in. 

Your Camera’s White Balance

A lot of people will leave white balance set to auto, which allows the camera to automatically adjust the setting in changing light conditions. This is fine in many situations, but with some of the information provided in this post, you’ll know when specific settings could be a better choice. The first crucial decision you need to make is whether to shoot RAW or graded footage.

Shooting RAW Formats

If you’re shooting your footage in a RAW format, you actually don’t need to worry about white balance. Since your camera is capturing all of the visual information provided by the scene, you’ll be able to go back in post-production and adjust the white balance to your liking. 

That might sound like an ideal solution. However, most people don’t shoot in RAW formats for good reason. To learn more about shooting RAW footage, watch our How to Video episode on demystifying codecs. 

Shooting Graded

Graded footage refers to footage captured in full color. The camera is automatically applying a color grade as it records video. This can speed up your editing process after the fact, assuming you like the color grade.

However, you might occasionally find that your footage does not appear true to life in terms of coloration. It could be too cool, making your subject look sickly, or too warm, causing skin tones to look more orange or red.

Your white balance settings are the way to correct those types of issues with graded footage. Typically, there is an auto setting, along with custom options, Kelvin settings, plus various recognizable light choices such as tungsten or daylight. 

The auto setting works as you would imagine. The camera uses an algorithm to do its best to match the color temperature to what it thinks is most accurate. While this can be somewhat reliable in a controlled environment, if you’re shooting in different locations or the light changes, the camera might struggle to keep up. 

The Kelvin setting lets you choose a temperature or range of temperatures, and set your camera to that. This is great if you have a studio with controlled lighting since you’ll be able to match your white balance to the light temperature in the room.

The various options ranging from tungsten to daylight, e.g. warm to cool, allow you to choose which type of light is illuminating your scene, and then adjust the white balance to match, similar to the chart above. These settings will help you achieve accurate color in your footage, and any further adjustments could be made in post-production.

Tools You Can Use

Luckily you don’t have to tackle this process empty-handed. There are several tools you can use to determine the correct white balance setting to use with your camera to help with color accuracy. 

First up, and the most expensive, is an electronic color meter. If used in a studio setting, this tool will measure the exact temperature of your lights so you can set your white balance accordingly. The one shown in the video is the Sekonic C-800 SpectroMaster Color Meter, which comes in at a hefty $1,599. 

Next, you could opt for a white balance card set or grey cards. Before rolling, you’d hold up the card and adjust the white balance so the greys are neutral. This will help your footage look more natural. These cards are very affordable compared to a color meter, but lack precision. We’d recommend the Vello White Card Set, which comes in various sizes.

Lastly, a color card is another very commonly used tool to achieve an accurate white balance in your footage. This method combines a physical color card, like the X-Rite Color Checker Card, along with software like DaVinci Resolve. While shooting, be sure to get a clear shot of your color card under the light source you’ll be using. Then, in post-production, your software will analyze that color card and set the temperature and hue of your footage to match how that card should look in real life. 

How Important is White Balance?

The short answer is: very important. All camera functions serve an important role in filming. The long answer is: it is important, but the amount of importance depends on what you’re filming. 

Color balance is of the utmost importance when filming items that absolutely need to be true to color. Think of product or clothing shoots. If the product is represented inaccurately, it could cause headaches for your business or your customers. 

Where white balance becomes less important is if you’re shooting scenery, a project with a specific artistic vision, or subjects where you can take liberties with the coloration. With people, for example, you definitely have some wiggle room on what is acceptable for the right tones. Just don’t go too far in either direction. Too cool and people start to look sick, and too warm and you get the Oompa Loompa look. As long as their faces look correct to you, the rest of the scene will fall into place.

While this post was primarily about white balance, color grading plays a big part in post-production adjustments. Be sure to watch our episodes on post-production for more information. 

The science behind white balance can be tricky at first, but understanding how it works will set you worlds ahead of the competition. Let us know what methods you’ll be using to achieve the perfect white balance during your next shoot.

The post What is White Balance and How Does It Work? appeared first on SproutVideo.

In this How to Video: Camera episode, we’ll be tackling all things shutter speed. We’ll go over what shutter speed and shutter angles are, the only rule you’ll need to remember, and the differences you’ll see when increasing or decreasing your shutter speed.

In the video below, Creative Director Nick LaClair (and his dog Jeff) will illustrate how shutter speed works, and show examples of what your footage might look like if you choose to work outside of the golden shutter speed rule. 

What is Shutter Speed?

Shutter speed is just that, the speed of the shutter on a camera. A camera shutter is a curtain, cloth or metal, that opens and closes in front of the camera sensor. It stays closed until the camera is fired, opens to let light pass through the lens and hit the sensor, then closes again afterward. The time in which the shutter is open is the shutter speed. This is technically a photography term, but with modern digital cameras, the same general process occurs for photo and video. 

How is it Measured?

Shutter speeds are typically extremely fast and are measured in fractions of a second. Most DSLR and mirrorless cameras have a wide range for shutter speed. They can go from as fast as 1/4000th of a second, to as slow as leaving the shutter open for 30 seconds.  

Types of Shutters

While all shutters function similarly, you may encounter different types of shutters depending on the type of camera you’re using. The most popular are as follows:

Focal-Plane Shutters: These are typically found in DSLRs and consist of a series of thin steel blades. Typically very close to the focal plane, focal-plane shutters can also be referred to as leaf shutters.

Electronic Shutters: These can be found on a variety of cameras, and on cheap and expensive models. They actually do not feature a physical shutter. Instead, they simply turn the sensor on and off to capture exposure. 

Rotating Disc: These are typically used in camcorders or pro cinema rigs.. It has a semicircular disc that spins in front of the sensor to let light in. This is where the term shutter angle comes from, which we’ll cover below. 

What is Shutter Angle?

Shutter angle is a different way to measure shutter speed. Used in mainly camcorders or pro cinema cameras, shutter angle is a reference to how rotating disc shutters used to operate in film cameras. The degrees refer to the amount of the sensor that is being covered up at any given point by the rotating shutter. 

The degrees are derived from how much of the sensor is being covered up at a given time. In the illustration below you can see the 180-degree shutter is taking up half of the space allowing only a certain amount of light to hit the sensor. With new technology, this is all done automatically rather than with an actual rotating disk, but the outcome is the same. 

Figuring out what shutter angle to work with is also very simple since unlike shutter speed, it’s a constant. For example, a 180-degree shutter will equate to a shutter speed that is double your frames per second no matter what you’re shooting at, meaning one less setting to adjust as you film.

Shutter Speed Golden Rule

If you take nothing else from this post, remember this one rule to make your footage look the best at any given time. Your shutter speed should be about “twice” your frame rate. So if you’re shooting at 24 frames per second, your shutter speed should be set to 1/48. Likewise, if you’re using a camcorder or cinema camera, you could set your shutter angle to 180 degrees.

This rule allows you to shoot at a rate that mimics real life. When we view things in the real world, there is a certain level of motion blur that occurs naturally as your eyes and brain process visual information. Shooting at double your frame rate makes your footage look as close to this as possible. This will make your footage more enjoyable to watch and more cinematic. 

However, there are certain circumstances where you may not want this look. Here are all the considerations to take into account when setting your shutter speed.

Slow Shutter Speed

There are specific situations where you might want to slow down your shutter speed. Typically, a slow shutter speed allows you to do one of two things.

The first is to avoid LED and fluorescent light flicker. At certain shutter speeds, you might notice that light in the background will start flickering. This is because it is refreshing at the same rate as your shutter. If you turn your shutter speed down, this should take care of it. 

The second would be for artistic reasons. When you slow down the shutter on a camera, it allows more light to hit the sensor, creating a much more intense blur effect, as seen in the image below. This is typically referred to as a long exposure shot in photography.

In terms of shutter angle, a low shutter speed would be the equivalent of a higher shutter angle

Fast Shutter Speed

On the other end of the spectrum, you typically use a fast shutter speed when you need an ultra-crisp image. Think sports, nature, or action shots. In film, you might do this to make the scene feel full of adrenaline since you’ll be able to see every bit of detail.

Faster shutter speed can also be used if it is too bright out, but as mentioned earlier this will affect your final output. One way to get around this is by using neutral density filters (ND) filters. ND filters are essentially sunglasses for your camera. They allow you to keep the shutter speed where you want it while also helping control the amount of light that is let in. 

When it comes down to it, sticking to the golden rule is a safe and reliable way to make sure that your footage comes out in the best way possible. Experimenting with different shutter speeds can be an easy way to add some creative flair to your project. Let us know what you think in the comment section below. 

The post How Shutter Speed Impacts Your Footage appeared first on SproutVideo.

Why bother tracking down vintage lenses? Why are they worth rehousing to fit modern cameras? Aren’t modern lenses objectively better than vintage glass? We’ll dive into all that, and where to find vintage lenses for your own video shoot, in this post.

Why Use Vintage Lenses?

Vintage lenses each have their own character. For example, the Cooke Speed Panchros mentioned above are known for being very sharp, very good with skin tones, and have a lot of peculiar and interesting characteristics, like bokeh swirl and vignettes, that add visual intrigue to your footage.

Note: not sure what bokeh refers to? Visit our recent post on anamorphic lenses for more details.

Cooke lenses have been popular for over a century, and have been used in many famous productions over time. These particular vintage lenses are famous for the Cooke Look:

“What is the Cooke Look? Cooke’s have a sharpness, a presence to the image, a roundness, a feeling of giving depth and shape to the image. It’s sharp edge-to-edge but the image has more presence – a depth and shape that’s pleasing to the eye.”

Ed Lachman, ASC on Erin Brockovich

While you might expect these vintage lenses to be even pricier than modern lenses due to scarcity, you’d be pleasantly surprised to hear they might actually be the least expensive Cooke lenses you can rent. Since they have such a particular look, they’re in less demand than the more expensive modern production lenses.

Of course, these traits aren’t exclusive to Cooke lenses. Vintage lenses from other brands offer similar advantages in terms of unique characteristics and distinctive, desirable imperfections.

A Vintage Vibe for the Holidays

Certain times of year, and certain types of shoots, are more suited to vintage lenses than others. For instance, the holiday season is full of nostalgia and reminiscent of times past. It’s the perfect excuse to dust off some vintage lenses to lend character and visual interest to your shoot.

We thought vintage lenses would be just the ticket for our holiday video shoot. We used vintage Cooke Speed Panchros (circa 50’s or 60’s) rehoused into modern bodies with PL mounts. Our lenses were mounted on an Arri Amira camera. Check out the end result below:

We used four different focal lengths to get specific shots for our video. The widest shot was of the carolers, where we used a 25mm lens. The shots of our actors behind the desks were filmed with either a 32mm lens or a 40mm lens. At the end, the close-up of our actor was filmed with a 75mm lens.

The footage from these lenses has really nice depth, while the faces of the people on camera appear sharp, yet somehow soft in a flattering, visually pleasing way. In the background, you can notice some imperfections in the bokeh in certain shots, and a very subtle vignette.

While those artistic elements won’t work for all types of video, we think they added just the right touch to our holiday video. Since it was shot in an office environment, this was a subtle way to add visual interest to an otherwise fairly standard setup.

Comparison to Modern Lenses

There is no singular comparison of classic lenses to modern lenses because every vintage lens has different characteristics. Typically, they aren’t quite as sharp, have more vignette, and more lens flare than modern lenses. However, the imperfections tend to be what make older lenses unique and worth tracking down to achieve certain looks.

Basically, you’re not using these lenses because they’re old; you’re using older lenses because they were less perfect when they were handmade. Since videographers are always looking for ways to add a little extra character to their footage, these lenses are an important option to be aware of.

Finding Vintage Glass

Any major city will have rental houses that offer some vintage lenses. There are also reputable options online, such as Duclos Lenses and GL Optics that offer rehoused versions of old lenses from brands like Contax, Zeiss, Canon, Leica, and Cooke.

Vintage Lenses in Big Productions

What better excuse to queue up some movies and cuddle up indoors with your nearest and dearest? Many major motion pictures have been shot with vintage lenses, and by studying them, you can familiarize yourself with the particular look of these lenses.

• Cooke Speed Panchros: The Crown, Castle Rock, WestWorld, Bohemian Rhapsody, and many classic films.
• Zeiss Super Speeds: The Shining, Taxi Driver, A Beautiful Mind, and many more.

In fact, Stanley Kubrick used Zeiss Super Speed lenses almost exclusively, and owned his own set. Of course, these lenses weren’t vintage back in his heyday, but lenses aren’t like cars – their look doesn’t really change (much) with age.

Limitations of Vintage Lenses

Before you rush out and buy a bunch of vintage cinema lenses, be aware that a lot of them (like the Cooke Panchros and Zeiss Super Speeds highlighted above) only cover super 35 sensors. With more and more full frame cameras and lenses on the market, over time, older lenses like these risk limited usefulness.

Note: read this post for more on sensors, and whether size truly matters.

Another option would be to look into vintage photo lenses rehoused for cinema use. Those are appealing because they have a vintage look, but also cover the newest full-frame sensors.

Questions about working with vintage glass? Ask away in the comments below!

The post Use Vintage Lenses to Get in the Holiday Spirit appeared first on SproutVideo.

They’re two video experts, with two really different cameras – a Sony FS7, and a mirrorless AS7ii. So, which is best? Turns out, it’s not that simple as there are pros and cons to each.

Watch the video below to get a hands-on comparison of footage quality, functionality, and other factors that can make a real difference when choosing which camera to work with.

Meet the Experts

Michael Rubenstein is a Sony Artisan and a veteran photographer (16 years) and videographer (8 years). He mainly creates video content for advertising, with a focus on “real people doing real things.”

Michael uses an AS7ii photo camera body with a lot of bells and whistles for his video work. In comparison, Nick works with a Sony FS7 – a professional camcorder, with far fewer accessories.

In this video, they compare the pros and cons – and cost – of their different camera configurations. Their insights are not to be missed!

Making the Most of What You’ve Got

As Nick and Michael discuss, when it comes to video, the difference in your results isn’t really about how much you spend on your equipment, or even how much gear you have. It all boils down to knowing your equipment, and how to get the best out of it.

Here’s how Nick and Michael manage to get similar, professional quality results out of very different cameras.

Footage Quality

The two of them shot a collaborative video together, allowing for comparison of footage quality side-by-side.

Nick was shooting internal 10-bit 4:2:2, while Michael was recording external 8-bit 4:2:2 for the most part (here’s a primer on camera footage quality for an explanation of what that means). Any difference in footage quality was negligible at that level in the final product. Here’s an example from the FS7 performing very well in low light:

There’s a lot of detail despite the low ambient lighting contrasting with the bright candle in the center of the frame.

The only notable difference was when Michael had to switch to 8-bit 4:2:0 to record internally when using a gimbal. As Michael notes in the video, you’re going to see problems with 8-bit footage when you’re shooting scenes with lots of contrasting dark and light areas. You’re more likely to blow out bright whites, and lose dark blacks in your image. Compare this still to the FS7 image above:

It’s a similar low light shot, with a few bright lights in the frame. Granted, this is a challenging lighting scenario. Still, there isn’t quite as much detail or dimension in the darker areas of the shot in comparison to the still from the FS7 footage above.

For more examples, see if you can distinguish the difference from 1:08 – 1:41 in the video above.

In contrast, 10-bit, 12-bit, or even 14-bit footage will appear more natural and cinematic in extreme lighting conditions. Cameras that can record 10-bit or higher internally are a wise choice for situations where contrasting lighting presents a challenge.

Functionality

Footage quality isn’t the only factor worth considering when selecting a camera. It also has to offer the features and functionality you need for your project.

In many cases, even high-end cameras don’t come with everything you need. In fact, most professional videographers have a camera kit that’s as individual as they are.

Michael’s AS7ii Camera

Michael works with a photo camera body, as previously mentioned. But, that’s certainly not all he’s working with.

He uses an Atomos display as a monitor and recorder. It enables Michael to easily see what the camera is recording from different angles. An external display is key for video work, especially compared to the smaller, less flexible viewfinder built into the camera body. It also allows him to record in prores 4:2:2 – a much better codec and quality than his camera can record internally.

He also added a Tilta Cage to protect the camera body, and to make it easier to add accessories to the camera, as well as an EVF viewfinder and an Arri follow focus. Then, Michael powers his camera with extra-large capacity V-Mount batteries for longer shooting times between battery swaps.

Shoulder mounts are not really an option given how light this setup is. Instead, an easy-rig is a better option for stabilization.

Nick’s Sony FS7

The FS7 camcorder can be used out-of-the-box to film. Still, like most professional cameras, it can certainly benefit from some accessories.

Nick has added a RAW adapter to enable it to record 12-bit RAW footage externally. Similar to Michael, he’s also added V-Mount batteries to extend his shoot times.

All these accessories make his camera resemble the weight and form factor of a cinema rig. This can be an advantage for shoulder mount filming, since the weight adds stability. However, the trade-off is having a large, heavy camera on your shoulder for potentially hours at a time.

Mirrorless VS Camcorder Pros and Cons

There are a few more details that are worth mentioning in this head-to-head comparison of these two camera kits.

Nick has internal ND filters, and a form factor that’s easier to use handheld out of the box, and external buttons for many of the cameras functions.

In contrast, mirrorless cameras do not offer the same professional options, such as internal ND filters. Most settings have to be accessed through the camera’s menu options, which can be slower and more cumbersome in certain filming situations.

Ultimately, Nick’s camcorder is a more professional rig, but Michael’s mirrorless is more versatile and can be more heavily customized.

And, we can’t gloss over the difference in cost. Michael’s camera starts under $3,000 but is about $7,000 as shown.

That’s around the same price as Nick’s camera stripped down out-of-the-box, while Nick’s full setup runs closer to $15,000 once you tally up all the add-ons.

Less Isn’t Less

Less isn’t necessarily less. It’s all about getting the most out of your budget.

Different camera kits serve different purposes. Michael relies on the flexibility and portability of his gear because he’s often thrown into situations for so-called “run-and-gun” style shoots. Nick also uses his for this type of shooting (and Nick’s rig is one of the standard options for the rigors of reality TV, among other types of shooting).

Still, as we explored in the footage quality comparison, there is not a giant difference in the outcome in certain situations. Michael is able to achieve a similar level of quality with his much smaller and less expensive setup when able to record to external media.

Feeling Flexible

Flexibility is so key. Being able to operate as a single person camera crew can give you many opportunities in the current environment for creative professionals.

If you can be more flexible about the gear you’re using, the type of work you’re doing, and… more or less everything else, it’s a great time to be working in video.

What accessories do you rely on in your camera kit? Are you using any we didn’t mention that you think are worth discussing? Please share your thoughts in the comments below!

The post Real World Lessons on the Camera Features That Count appeared first on SproutVideo.

In this episode of our How To Video: Camera series, we’ll walk you through what you can expect from different tiers of video cameras for each of those five factors. We’ll also explain why each one is important to consider when selecting a camera for your project.

Video Camera Technology

Cameras are incredibly complex, and they’re packed with features. So, how do you know which features really matter?

Nick LaClair has the answer in this episode of our How To Video: Camera series. He dissects the five major categories of camera features, and identifies what separates professional cameras from consumer options. Watch the video below to learn what really counts when it comes to camera features.

1. Battery Capacity

Battery capacity is very important to keep in mind as you’re filming. It varies tremendously across types of cameras.

As you go up the chain, battery capacity increases from consumer cameras, up until professional camcorders. Since cinema rigs are so powerful, they require a lot of, well, power. Battery life tends to be short, and batteries tend to be very large and pricey for these models.

Of course, there’s an easy solution for extending your shoot. Bring fully charged extra batteries and a charger, and rotate your batteries in and out as needed. Just keep in mind that charging a large battery can take several hours.

2. Audio Inputs

Lower end cameras typically only accept one audio source, and usually from an 1/8th inch audio jack. This type of audio jack limits the range of microphones you can pick from, and usually doesn’t deliver as high quality sound when compared to XLR audio inputs.

On the other hand, camcorders and cinema rigs accept XLR audio inputs. This type of input provides balanced audio without what is known as cable interference. Cable interference refers to distortion or similar noise issues that certain types of cables can introduce. As a general rule, XLR inputs will give you cleaner audio than 1/8th inch audio jacks.

XLR audio inputs have the additional benefit of providing phantom power for microphones that require it. Some microphones take batteries, while others are powered by the XLR cable if the camera supports it. Offering phantom power opens up the ability to use different mics, and is typically a more professional choice.

Microphone Mounts

Camcorders typically offer a mount for a shotgun microphone. An on-camera mic is a convenient way to capture audio if you aren’t able to use a boom mic.

In comparison, DSLR cameras only allow you to use a hot shoe microphone. While small and easy to use, hot shoe mics won’t deliver the same sound quality that a full-size professional shotgun mic can.

3. Video Outputs

Lower end cameras only include one HDMI output, which can be limiting. HDMI connectors are fragile and break easily, and are limited in terms of the distance of cable through which you can run a signal.

Instead of HDMI, SDI cables are industry standard. Camcorders typically offer multiple options, including both SDI and HDMI, whereas cinema rigs usually offer multiple SDI outputs.

The number of outputs matters most when you have more than one team that requires its own video feed during a shoot. If you’re a single person filming, this likely isn’t a factor for you.

However, if you are on a large production team, you will definitely care about the number of outputs you have available. For example, you will likely want an on-camera monitor, plus another for the director, and another for clients elsewhere in the room.

Also, when there are multiple video outputs, each one usually outputs something different. For instance, one might output all the visual information displayed on the screen (such as lens info, etc.), which is useful for the camera operator. Then, the second output could just be the image. That’s useful for the client or other parties who don’t need to see all that extra info.

4. Ergonomics

Consumer cameras are extremely basic, in that they aren’t particularly customizable. Typically, you can’t even change lenses, though some offer slightly more adaptable features, like movable viewfinders.

Mirrorless and DSLR cameras are perfect for photography, but lack a lot of features required for pro video. Interchangeable lenses are available, but since these small cameras are designed for portability and still images, they lack convenient features like handles and external options for settings.

The most complete, out of the box solution is a professional camcorder. They have handles for handheld work, and offer easily accessible external adjustments that aren’t buried in the menu. They usually also have on-camera monitors or viewfinders that are large, bright, and adjustable.

Similar to the first two categories, cinema rigs aren’t as well equipped out of the box, which has its pluses and minuses. They require thousands of dollars of add-ons to get the same functionality. However, you’ll have a highly customized solution when you’re done configuring your rig.

5. Image Control

Finally, there’s image control. Neutral density filters (known as ND filters) and signal monitors are important tools for videographers.

While in photography you use ISO, shutter speed, and aperture to change the exposure of your image, in videography, your shutter is locked in place. So to bring your exposure down past where your aperture or ISO can go, you need a ND filter.

Consumer cameras only give you histograms for image control, which is a tool designed primarily for photographers.

Only camcorders offer internal ND filters for controlling exposure. Camcorders and cinema cameras include other tools like a waveform monitor and a vectorscope, which give you a lot more information about the image you’re recording.

While a histogram will give you a general idea of the brightness of your image, waveforms will give you exposure values for specific areas of your frame. This is handy in case you need to know how bright that window’s getting, or how dark the shadows are below it. A vectorscope will give you an idea of color values, which are useful for dialing in the correct white balance.

The advanced image control functionality of higher end cameras allow you to more precisely capture the image the way you want.

Each of these five factors is key to understand to get to grips with the video camera of your choice. Questions about choosing the right camera for your project? Get expert advice in the comments below.

The post The Five Video Camera Features You Need to Know appeared first on SproutVideo.

However, a lot of the difference also comes down to what happens to the image data after it hits the sensor. There are three main factors: bit rate, bit depth, and chroma subsampling.

If you’re already lost, don’t worry. We’ll break down what each of those terms means, and how they impact footage quality. Watch the video below and keep reading to gain an in-depth understanding of what really makes a difference for pixel perfection.

Three Factors For Fantastic Footage

A lot goes into making a great-looking video. You need the right set, talent, lighting, hair and make-up, and more.

However, none of that matters if your video camera isn’t capturing all the details you so meticulously arranged. Watch as Nick LaClair, head of video production for SproutVideo, explains why bit rate, bit depth, and chroma subsampling are key to understanding the differences between footage quality from different cameras.

Better Bit Rate

In this context, bit rate refers to the amount of data the camera records per second. Cameras process tons of data about every single second of a video. After all, each second contains multiple frames composed of millions of bits of information.

Unsurprisingly, a higher bit rate equates to higher quality footage. It allows the camera to record more details about each frame.

Still, bit rate only matters to a certain extent. The media the camera records to (e.g. a memory card or external drive) can only support up to a given bit rate. Once you hit that point, you no longer gain any benefits from higher bit rates. Here’s how that shakes down across different tiers of cameras:

Once you hit the maximum bit rate the recording media can handle, bit rate levels off as a factor in image quality. When that happens, image compression becomes more important than bit rate for image quality.

Colorful Bit Depth

Bit depth is less well-known than bit rate, but every bit as important (see what we did there?). Bit depth refers to the number of colors your camera can read per pixel.

Common bit depths are 8-bit and 10-bit, which enable a camera to read 256 million or 1.07 billion colors respectively. That’s per pixel!

The more colors your camera can read, the more life-like the resulting image will appear. Higher end cameras typically offer greater bit depth than consumer options:

On some professional camcorders and cinema cameras, you can even bump up the bit depth when recording to external media. This enables you to capture even more colors per pixel than the camera supports otherwise.

Still, that’s not the whole story, because capturing all those colors requires a lot of processing power. That’s where chroma subsampling comes in.

Chroma Subsampling

Chroma subsampling sounds much more complicated than it is. Essentially, to save processing power, many cameras don’t capture color information about every single pixel. Instead, they fill in the gaps by “guessing” what’s in between.

Most consumer cameras offer 4:2:0 chroma subsampling. It means that for the first row of four pixels, the camera will capture information from two of them. For the second row, it won’t capture any. Here’s what that looks like for each pixel:

The next step up would be 4:2:2 chroma subsampling. In this case, the camera would capture color information from two pixels in each row of four.

And finally, in only the very top-of-the-line cinema cameras, you can find cameras that capture information from every single pixel. That’s referred to as 4:4:4 chroma subsampling, and it looks like this:

Adding to the complexity, and much like bit depth, you can often capture a higher quality of footage when recording to external media. Here’s how your chroma subsampling options break out across different tiers of cameras:

Bringing It All Together

A lot happens to the image the camera captures after it hits the sensor. The camera’s bit rate, bit depth, and chroma subsampling all impact the footage quality that results. By better understanding these factors for image quality, you can make a wiser choice when selecting your next camera for a video project.

Questions about image quality for video? Please share in the comments below!

The post Pixel Perfect: Understanding Image Quality for Video appeared first on SproutVideo.

The plain and simple answer is a definite NO. As Nick LaClair explains in this episode of our How To Video: Camera series, a lot of the difference in footage quality comes down to the role sensors play in processing visual information. Keep reading for a deep dive into how camera sensor size impacts everything, from depth of field and the size of the frame to the level of noise in your image.

Making Sense of Sensors

A camera sensor is the part of the camera that converts whatever you see through the viewfinder or monitor into a digital image. Basically, a sensor captures light entering the lens and converts it into a tiny electronic signal that the camera’s software can use to generate an image.

Each image constitutes a single frame of video. A second of video contains multiple frames. The exact number depends on your camera’s setting, typically anywhere from 24 – 240 frames per second.

In this video, Nick LaClair breaks down the differences between sensors in a range of camera options, and provides guidance on selecting the right camera and sensor for your project.

Deep Dive on Sensors

In order to understand the difference the sensor size makes to your image quality, you also have to understand two key concepts: depth of field, and effective focal length.

Sensors and Depth of Field

Depth of field refers to the camera’s ability to focus within the frame. 

A shallow depth of field means that the subject will be in focus, while the background will appear blurry. This can lend a beautiful and professional look to your footage. It gives a cinematic feel to your shot.

A deep depth of field enables you to capture more of the image in focus. For instance, if your subject is in front of something important you want the audience to be able to see, you’ll need a deep depth of field to keep it in focus.

Generally speaking, the larger the sensor, the shallower the depth of field at any aperture. Aperture is a camera setting that controls how much light hits the sensor.

When working with a large sensor with a correspondingly shallow depth of field, you need to close down the aperture in order to deepen the depth of field. Because that reduces the amount of light hitting the sensor, you need to add lighting to your shot to compensate for the aperture setting.

This increases the complexity of your production significantly. In certain circumstances, selecting a camera with a smaller sensor would be a better choice.

Effective Focal Length

Effective focal length is created by the image cropping that results when you combine a specific lens with a specific camera. The same lens can be a wide on one camera or a telephoto on another depending on the size of the sensor. Let’s break down how that works.

Basically, the smaller the sensor, the wider the lens you need to capture the same scene as a full frame camera. And, the wider the lens, the deeper your depth of field at any given aperture. Put another way, the longer the focal length of the lens, the shallower the depth of field, and the more compressed the background. Got it?

Here’s an example that illustrates the point. The kit lens included with many basic consumer cameras varies according to the sensor size in order to deliver a similar range, from a wide angle to a zoomed in shot.

Because of the image cropping that occurs, the combination of each lens with each sensor size gives you a similar ability to shoot a wide angle or to zoom in on a subject. The effective focal length is similar across these pairs.

Which Sensor is in Which Camera?

Today, there is greater variation in sensor size within price tiers than there used to be. Here’s how sensors typically differ across different types of cameras:

In the image above, the full frame sensor is grayed out for the DSLR / mirrorless cameras because they don’t truly offer full frame sensors. Although this setting is available on some consumer models, they have to “cheat” to record video on a full frame sensor. As a result, there is a trade-off in terms of overall image quality.

At the bottom of range, portable consumer cameras typically have small sensors, which result in a lower quality image, and less control over the depth of field. At the very top, you’ll find full frame cinema cameras, which produce incredibly high quality images, with plenty of control over depth of field.

However, there is also a significant difference in terms of the level of technical expertise required to operate these different cameras, as well as the price. As a general rule, the larger the sensor, the higher the price, and the more complex it is to film with the camera.

Selecting a Sensor Size

What size sensor is right for your project? It all depends on your budget, and the level of control required over your depth of field.

Considering Budget

Budget is clearly a factor when selecting a camera, and larger sensors are associated with higher prices. Think through the type of investment you’re willing to make in video. Do you plan to produce high quality video on a regular basis? If so, it might be worthwhile to invest in a camera with a larger sensor since it will provide more flexibility and value over time.

However, it’s certainly true that sometimes, the best camera is the one you already have – usually your phone. It all comes down to what you’re looking to achieve with video. It’s possible your audience cares more about your ideas than whether your footage looks truly polished.

Factoring in Depth of Field

If your shoots vary significantly, you likely need more control over depth of field. That’s because you’ll need the ability to selectively focus and adjust to different settings.

On the other hand, if you’re mainly filming very simple videos with a fixed perspective, depth of field might not be a significant factor in your decision. There are even certain scenarios where a smaller sensor can even be advantageous.

For example, say you’re shooting a corporate presentation. You’ll probably need to keep the presenter in focus as well as the visual aids behind them. An iPhone would capture everything clearly.

As mentioned above, on a professional camera with a big sensor, you’ll need more light to close down the aperture enough to get a deeper depth of field. That means more equipment, setup time, and light. Otherwise you risk losing focus on important parts of the scene.

After weighing your budget and production needs, you should be able to select an optimal sensor size. Of course, whether you need other bells and whistles in a camera is a different matter.

Understanding camera sensors is key to understanding the difference between tiers of camera models, as well as the difference in the image quality they can produce. If you have questions about camera sensors, please share in the comments below.

SproutVideo supports UltraHD video playback – up to 8K! We also accept file sizes up to 100 GB. So, bring on the high quality footage and let your videos shine with a free trial.

The post Camera Sensors: Does Size Matter? appeared first on SproutVideo.

There are so many options for cameras on the market. Choosing the right one to purchase, or just to use for a video project, can be challenging. In fact, there really isn’t a single right answer to the question, “Which camera should I use?”

Instead, we’d like to defer to the experts on this topic. We surveyed four professional videographers to learn what they consider to be their go-to camera – the one they reach for time and again. Keep reading for amazing insights into which camera systems the pros use, and why.

Meet the Experts

At SproutVideo, we’re lucky to be connected to a network of professional videographers by our mutual passion for all things video. Here are four of our friends who were kind enough to share their expert opinions on this all-important choice for anyone producing video.

Scott Jansson

Scott has more than a decade of experience filming documentaries, food videos, corporate videos, and broadcast news. You may even recognize him because he collaborated with SproutVideo on our horror video lighting tutorial. He splits his time primarily between New York City and the Boston area, though he frequently works internationally too. Scott typically works with a crew size of one to six people on his shoots.

Edu Rabin

Edu lives in Porto Allegre, Brazil, and has a decade of experience filming commercials, TV dramas, and feature films. His clients are typically regional networks or companies, and he mainly films on location. On an average production, Edu typically loops in a gaffer, grip, camera assistants, and loggers, as well as up to four additional assistants.

Stephan Alessi

Stephan’s fashion, athletic wear, and beauty shoots have taken him all over the world, though he often works in New York City where he’s based. Although he’s been filming for around seven years, he only started focusing on videography three years ago. When shooting stills, it’s often just Stephan and one other person, but on larger shoots, a crew of eight to ten is more typical.

Ben McIntre

Based in Stockholm, Sweden, Ben primarily works on documentary films, with nearly four underway at the time of writing. He also produces shorts and commercial work, and counts NGOs, networks, distributors, and digital publications like Vice. His projects take him primarily into Africa and Asia, though he also films in Europe and the US.

As is typical for documentary filming, the crew size is often quite small. Ben usually works with a director, a producer or two, sound, and an AC. Occasionally he’ll add a gaffer and second camera operator depending on the job.

Now that we’ve met the experts, let’s see what our panel has to say about their go-to cameras!

What is Your Go-To Camera?

The most popular makes of camera amongst our experts are Sony and RED. Here are the details on their responses:

Scott Jansson

I use a Sony FS7 very frequently because I own one, but I’m not exactly tied to it. I tend to vary my camera choice according to the needs of the project.

Sony FS7 Photo Credit: B&H Photo

Edu Rabin

My camera choice is driven by budget. When possible, I’ll use a RED Epic Dragon and Alexa Mini. Otherwise, the Blackmagic Ursa Mini Pro 4.6 K and Sony A7SII with Atomos Inferno are a great choice for low budget productions. I’m also very fond of the Zeiss 1.3 High Speed. I like the way they “destroy” the digital sharpness with all the flares and the “milky” feeling the image gets when framed and lit in a certain way.

Blackmagic Ursa Mini Pro Photo Credit: B&H Photo

Stephan Alessi

I use the RED Epic Weapon for most of my motion shoots. If I’m shooting stills, I rely on the Canon 5D MK IV.

Ben McIntre

I use a lot of different camera systems, and just try to get the best thing for the job, regardless of what I own. In general I use a lot of Sony FS7, Canon C300 Mark II and Arri Amira. I also shoot with Alexa Mini or RED cameras on occasion. While I’ve owned a Sony FS7 for years, I just bought a RED Gemini that will be my new in-house camera for a wide variety of jobs I do.

RED Gemini Photo Credit: B&H Photo

Why Is It Your Go-To?

Our experts mainly cited versatility and reliability in their reasoning behind why a particular camera was their go-to. For video, versatility means a camera can perform in a wide range of circumstances, and can deliver results for a variety of projects. For instance, our experts described the Sony FS7 as a workhorse that can deliver results for different types of shoots.

Stephan also added that he prefers the RED Epic Weapon because of the balance it offers between image quality and file size. Since his clients often need to edit the footage into various formats for online distribution and social media, he finds they have more options when using this particular camera.

Since Ben just switched from a Sony FS7, we wanted to get his thoughts on what drove the decision. He said:

I didn’t find the FS7 performed adequately in lowlight. There was too much image noise, and one of my long term projects involves a lot of dim settings, so it really showed…The RED Gemini is something I can use with a shoulder mount, or shoot handheld like the Canon C300 Mark II. I can dial in a data rate the production can handle. It’s just an easy camera to assign to anything.

What Would You Improve About Your Camera System?

Proving that no camera is perfect, all of our experts had a few criticisms of their preferred camera system, and identified missing features they’d like to see.

Scott Jansson

I have a few input-related improvements I’d like to see. I would love to be able to assign a button to switch between 4K and 1080. And, I could really use a start/stop button below the lens mount.

As for the rest of my wish list, I’d feel much better if the cable to the viewfinder was detachable. It would also be nice if the record symbol (Red/Green) on the viewfinder would stay on even if all the info in the display is off. An additional tally light visible to the camera operator could also solve that problem.

Also, I’d like the ability to simultaneously shoot a proxy while shooting 4k in camera. I’d like the other internal record options to be available without the extension unit. Finally, I’d like to see the extension unit be powered by Sony BP bricks rather than v-mounts.

Edu Rabin

Well, I would love to see more diversity in terms of equipment and lenses coming down to Porto Alegre and Brazil in general. Rentals are very expensive because of the high importation taxes we have to pay. I would love to have more lenses, anamorphic lenses for example, in my palette.

Stephan Alessi

One word: PRICES!

Ben McIntre

For my new camera, the RED Gemini, I’ve found the fan system can be a little loud when in hot weather. I have to bring more batteries with me now and change them more often, when compared to the Canon C300 Mark II or FS7. But I wouldn’t expect that to be a big problem. It just works great though. Very little to complain about so far.

Which Camera System Would Be Best for a Small One- or Two-Person Shoot in an Office or Home Setting, and Why?

Scott Jansson

For me it’s not really about the number of people involved in a home or office setting that will determine which camera system I use. It’s based entirely on budget, and project or client needs.

Camera functionality is fairly similar across all systems in terms of the ability to record an image, and the amount of time and work it takes to get up and running. That being said, I may limit the number of accessories involved if it causes camera build-time to be excessive without adequate support personnel, but again, it’s all dependent upon the project.

In a general use situation, the decision really comes down to personal taste, creative scope, level of technical aptitude, and what you’re willing to spend.

Stephan Alessi

The one you have easiest access to. Usually the camera you already have is the best choice.

Ben McIntre

I’d use an Alexa Mini or RED. The smaller the crew, the less you can do with light.

I really try to push for the best camera I can in those scenarios, even if it means less lighting gear and cheaper lenses to fit the budget. Some people go the other way with it, but I’ve always been drawn to a more naturalistic lighting style anyway, so for me that approach makes sense.

So, Which Camera Should You Get?

It’s the $100,000 question (yes, some camera systems cost that much, and more). As you can see, rather than there being one single answer, it comes down to several factors, including budget, your project-specific needs, and level of technical ability.

Expensive cameras are generally more complex to operate, but will perform well in a wider range of circumstances. Here, we’ve provided some general guidelines by budget because it’s an approximation for the level of technical aptitude required, and how versatile the camera is likely to be.

Budget

The camera systems our experts rely on cost $10,000 and up. But you definitely don’t need to spend that much to get a serviceable camera.

$1,000 and Under

Consider using the camera built into your phone. Modern iPhones and Androids perform very well for basic video needs, and can shoot 4K video. With the right accessories, you can create remarkably beautiful video with your phone. Even better? You’ll always have it on you.

Of course, you can always rent more upscale cameras while sticking to a lower budget so long as you are filming infrequently. This is also a great way to test out different camera models before committing to any particular option.

GoPro and other action cameras are another solid choice at this price point depending on what you’re filming.

$1,000 – $5,000

DSLR cameras with video capabilities are likely your best bet at this price point. Look for full frame sensors, and be sure to build lenses into your budget – you’ll need them!

If you prefer a video camera over a DSLR, many camera brands produce prosumer ranges at this price point. They’re often similar to professional cameras, but with more streamlined menus, fewer inputs, and smaller sensors. Not all models offer interchangeable lenses, which can be a plus or a minus depending on your needs.

$5,000 – $10,000

If you’re investing in a camera system to use on a regular basis, the Sony FS7 was a standout choice according to our experts for a variety of reasons. It’s at the high end of this range, but it’s a powerful and capable camera. A more budget-friendly option from Sony is the FS5, which is essentially a camcorder version of the FS7.

Another solid option at this price point is the Canon C200 EF, which our experts also mentioned as comparable to the FS7. It’s known for its particularly lifelike color tones. Canon also has an excellent reputation for reliability.

$10,000 and Up

If you’re one of the lucky ones for whom budget is less of a concern, the RED line of cameras is hard to beat. There were a couple different RED cameras that were mentioned in this post, including the RED Epic Weapon or Dragon, and RED Gemini. All are pricey to be sure, but also very solid, high-performing cameras.

Subscribe to our email list to get the next episodes in our How To Video series in your inbox. The next few episodes focus on cameras, and we’ve already covered audio and lighting. By following along, you’ll become an expert in all things video.

Got a question about cameras? Please share it in the comments below for expert advice!

The post Expert Advice: What’s Your Go-To Camera? appeared first on SproutVideo.