At the over £1,000 and sub £2000 price point there are several DSLRs and compact system cameras (CSCs) that have taken movie capture to a high-spec level. Some offer top-notch settings that promise professional quality and intelligent controls.
When spending upwards of £1,000 there’s a lot to consider: which model produces the best quality footage; which can autofocus with ease (if this is important to your movie making); or how much manual control do you get over exposure?
There’s also a mixture of Four Thirds, APS-C and full-frame sensors available.
We’ve rounded up five current models over the £1,000 threshold and break down what they’re capable of to help you choose the right model for shooting video.
The bigger brother of the Lumix G3, the Micro Four Thirds GH2 is Panasonic’s ultimate movie-recording stills camera. Its 3in, vari-angle touchscreen can be positioned through any angle and is ideal for movie shooting, plus the hands-on ‘touch for focus’ approach makes for unique yet pinpoint autofocus control.
The GH2 provides the full array of manual controls as well as automated movie shooting. This means that both shutter and aperture can be controlled in real time when recording – though doing so will cause a small ‘blip’ of overexposure while the camera quickly adjusts. It doesn’t look particularly smooth, so sticking to exposure compensation for a more fluid exposure transitions is one way to maintain smoother results.
The Programme Auto (P) mode leaves the GH2 in charge of most settings for more simplified point-and-shoot recording, as commenced by the one touch button just behind the main shutter button.
Sensor
As the GH2 has a different Four Thirds sensor than other Lumix cameras (this one has more processing power and is a slightly different size to accommodate all aspect ratios, including 16:9 movie, without unnecessary cropping) its readout is of a higher capacity too. This translates into a 24p (progressive) cinema mode, compared to all other Lumix cameras that capture interlaced files.
It also means a 24Mbps data rate, which is on par with that of a professional spec camcorder, and adds that extra depth of quality to final files.
The GH2 also provides a 50 or 60i capture should this be preferable, plus there’s a Variable Movie mode that can capture at 80%, 160%, 200% or 300% of usual speed inside the camera (by adding or skipping frames) for a slower motion or sped-up capture. It’s an extra wave of creativity, and similarly there’s also an Ex Tele Converter mode that uses an exact 1920×1080 pixel section of the sensor for a 3x magnification without quality loss.
Autofocus
Autofocus is super fast when using single focus (AF-S), and the full time autofocus (AF-A) is very smooth and accurate when shifting between subjects. This is the same system as employed in the excellent Lumix G3, though the GH2 does have one distinct downer – the focus area is restricted to a far more central portion of the screen that causes distinct limitations.
Panasonic’s AVCHD capture format means movies need to be processed in order to use them outside of the camera, but this keeps file sizes far smaller than they would be otherwise.
Audio
Sound-wise the GH2′s built-in stereo microphone captures decent quality audio, though the 2.5mm (again, not the more standard 3.5mm fitting) will have those wishing to use many third party microphones at a loss. Panasonic makes a variety of microphones with the 2.5mm fitting or there are 2.5-3.5mm converters available for little money, though using the latter isn’t the most elegant or reliable way of recording.
Video specs
Approx price: £1,049 with 14-140mm kit lens
Sensor: Micro Four Thirds (2x magnification)
Maximum resolution: 1080p capture (1920x1080px)
Frame rate: 24fps (1080p) / 50/60i fields per second also available (output as 25/30fps)
Compression: AVCHD capture (or Motion JPEG at QVGA resolution only)
Audio support: 2.5mm mini audio jack for external microphones
File format: AVCHD format MTS files require decoding; M-JPEG
Exposure mode: Programme mode with real time exposure compensation; Manual mode with real time shutter and aperture control; Aperture & Shutter Priority modes
Focus modes: Full time (AF-C), Subject Tracking, Single (AF-C) and Manual (MF) focus options
Connectivity: HDMI & A/V outs
At the top end of Nikon’s APS-C format ‘consumer’ range, the D7000 doesn’t claim to be a professional camera, though a browse through its features list quickly suggests otherwise. It’s the most proficient Nikon DSLR for movie recording, even above and beyond the full-frame D3s (the latter’s older sensor accommodates inferior Motion-JPEG recording only).
Autofocus
With the ability to use single (AF-S) or full time (AF-A) autofocus, the D7000 has among the most responsive live view focusing systems to be found in a DSLR camera. However, the continuous autofocus, as per that of the D5100, isn’t quite quick enough to keep up with all subjects, plus the audible clicking sound of autofocus is picked up in shots.
Furthermore the AF seems lazy when zooming the lens, often resulting in an out of focus shot that needs a half shutter depression to coax the system back into play. However, compared to much of the competition it is an effective autofocus system overall – just not a patch on many Compact System Cameras or Sony’s A55 (see Best DSLRs for video £500-1,000).
Manual control
Where the D7000 outdoes its D5100 cousin is with the addition of manual control. Manual mode allows for adjustment of shutter and aperture as a means to set exposure, though the latter can only be adjusted outside of live view mode – an oddity as this means a lot of unnecessary flicking of switches and dials just to set the aperture as desired.
Although it appears that Aperture and Shutter Priority modes are also available, they’re not, as the values displayed on screen are nothing more than relics from stills shooting that the camera ignores in practice. Using the camera in its auto mode is most proficient as real time exposure compensation and exposure lock are both available and make it easy to fix exposure/brightness as required.
The D7000′s 1080p movies are captured at the cinematic 24 frames per second frame rate and output as MOV files. H.264 compression means quality is good, though the 175MB/minute rate is less than some other models out there and this shows in the final captures – although decent, they’ve not for the same cutting detail and smoothness as from, say, the Canon EOS 7D (which we’ll look at later in this article).
Audio
Sound is dealt with using an on-board microphone or there’s a 3.5mm mic jack for third party microphones. The latter is particularly useful as sound is a little muffled; it sounds ‘squashed’ and over-compressed when recorded from the camera body.
Video specs
Approx price: £1,059 with 18-105mm kit lens
Sensor: APS-C sized (1.5x magnification)
Maximum resolution:1080p capture (1920x1080px)
Frame rate: 24fps (1080p) / 25/30fps (720p)
Compression: H.264 compression for video and Linear PCM audio (mono)
Audio support: 3.5mm audio jack for external microphones (stereo)
File format: MOV
Exposure mode: Programme mode with exposure compensation & AEL; Manual mode with live shutter control and pre-determined aperture control
Focus modes: Single autofocus (AF-S), Full-time autofocus (AF-A), Manual focus
Connectivity: HDMI-C out, A/V out
As Olympus focuses its attention on its PEN range of Compact System Cameras there’s been a lot of suggestion that the Four Thirds format E-5 will be the company’s final DSLR camera. Even so it’s also the first Olympus DSLR to feature a movie mode.
Able to capture 720p HD clips, the E-5 utilises the Motion JPEG format at a 1/12 compression ratio to capture its AVI movie files. The format means large files at around 285MB/min, but the final quality doesn’t seem to correspond to this high number.
Compression is excessive, colours appear muted and shadow areas (even at lower ISO settings) show presence of mottled image noise that doesn’t make for the most appealing shots. Framing up is also difficult as the movie mode uses a different portion of the sensor than for its stills shots (even in 16:9 mode) that results in a sudden ‘crop in’ where recording captures a slightly different frame.
Autofocus and manual control
However there are some plus points: the E-5′s autofocus system is nippy (though only single autofocus or manual focus is available); full manual controls are available for shutter and aperture control; a 3.5mm mic jack means external microphones can be attached; and Art Filter modes can also be used in movie capture for added in-camera creativity such as Grainy Film, Soft Focus and several more.
On the downside the camera is expensive (£1420 covers just the body without a lens) and the Art Filter modes drop the movie frame rate so low that they’re unlikely to be of use. Even when setting focus prior to shot the final captures are often a little out of focus unless focus is re-acquired during recording, manual controls can’t be adjusted in real time during capture, plus the on-board microphone captures a hissing mid-high frequency that’s distracting compared to competitor models.
Indeed the E-5′s movie mode feels like it was ‘tacked on’ rather than added as an intrinsic part of this camera.
Video specs
Approx price: £1,419 body only
Sensor: Four Thirds (2x magnification)
Maximum resolution: 720p capture (1280x720px)
Frame rate: 30fps
Compression: Motion JPEG 1/12
Audio support: 3.5mm audio jack for external microphones
File format: AVI
Exposure mode: Programme mode with pre-shooting aperture, ISO and exposure compensation control; full Manual, Shutter and Aperture Priority control (pre-determined values prior to recording only)
Focus modes: Single autofocus (AF-S), Full-time autofocus (AF-A), Manual focus
Connectivity: HDMI-C out, A/V out, USB out
One of the big guns when it comes to stills shooting, Canon’s APS-C format semi-pro spec 7D also delivers quality on the movie front too.
On the rear of the camera there’s a movie live view mode switch that surrounds a Start/Stop button to commence recording. As this individual control features here the position of the main mode dial on top of the camera – to select between Programme or Manual modes – is crucial depending on how much exposure control you want to have.
Shooting modes
The 7D doesn’t do things by half measures: either you take full control of both aperture and shutter values (and ISO if you should choose) when in Manual mode; or the P (Programme Auto) mode automates exposure and controls all settings on your behalf.
Aperture and Shutter Priority modes are not available, instead these act as per the P mode, and it’s only in Manual that full control of all settings is available.
Exposure compensation can be adjusted live during recording using the rear rotational wheel, and the exposure lock button can also fix the exposure value to the current subject in order to stop the camera adjusting for changes in light. The occasional flash of light can occur as the camera auto adjusts for exposure, though it’s not a common occurrence.
Autofocus and manual control
Focus-wise it’s either single autofocus (AF-S), as controlled by the AF-ON button on the rear of the camera (that’s quite awkward to use due to its placement) or manual focus. The focus is as per many other DSLR cameras – there will often be over- and under-focusing issues, plus the camera (even when in Manual mode) may briefly up the exposure value in order to obtain a higher area of contrast for focusing and this then relays in final capture playback. So it’s not so slick unless you take full control of everything, including focus, by hand.
Although the 7D isn’t a point-and-shoot model by any means, the main reason to consider buying one is the final quality of its movie clips. The 1080p files can be captured at 24, 25 or 30fps and are rendered as MOV files using H.264 compression. The end quality is quite staggering in terms of fine detail, motion fluidity and careful use of compression – indeed at around 375MB/minute there’s a whole lot of data being squeezed into the clips, and it shows.
Audio is handled by an on-board microphone or a third party microphone can be plugged into the 3.5mm mic jack for more professional off-camera recording.
For full manual control and high quality movie clips the 7D does a fantastic job, though the autofocus system is best avoided if you’re after truly professional quality final clips.
Video specs
Approx price: £1,445 with 18-135mm kit lens
Sensor: APS-C sized sensor (1.6x magnification)
Maximum resolution:1080p capture (1920x1080px)
Frame rate: 24, 25 and 30fps
Compression: H.264 compression for video and Linear PCM audio
Audio support: 3.5mm audio jack for external microphones
File format: MOV
Exposure mode: Programme mode with exposure compensation & AEL; Manual mode with live aperture and shutter control
Focus modes: Single autofocus or manual focus
Connectivity: HDMI-C out, A/V out
Canon’s 5D MkII is deemed by many as the ultimate stills camera for shooting pro-spec videos – so much so it’s even been used in Hollywood movies such as Iron Man 2.
It’s clear to see why the industry in the know is keen on the Canon’s technology too. The 5D mkII’s 1080p capture can record at the cinematic 24fps frame rate or native PAL (25fps) and NTSC (30fps) settings. Although we’re not talking about true Digital Cinema 4K capture (or indeed higher; but that’s outside of any still camera’s reach at the moment), the final quality of the Canon’s clips is fantastic.
Full-frame sensor
There’s a twofold reason for this: as per the 7D, the 5D MkII squeezes some 375MB/min into its MOV files; but it’s the full-frame sensor’s extra physical size that adds pronounced shallow depth of field (blurred background) that’s out of reach of smaller-sensor cameras. Pair the 5D mkII up with some stunning wide aperture lenses and its clips will exude professional quality.
Of course such extra physical size can cause some constraints. For example, a 50mm lens on the 5D mkII equates to roughly peripheral vision, whereas the same lens on a Canon 7D would equate to 80mm. If you want long-reaching shots from telephoto lenses on the 5D mkII then be prepared to surrender not only your wallet due to the sheer expense, but also your spine thanks to the potential weight burden (depending on how much kit you intend to carry).
Shooting modes
Control-wise and the 5D mkII has exposure provisions as good as any other model we’ve seen. Manual, Shutter Priority and Aperture Priority modes each provide full control over settings that can be manipulated live during capture. Do note that stopping the aperture up or down while recording can result in a very brief ‘flash’ of overexposure however.
Programme mode can be used much like an ‘Auto’ option, though it’s still possible to adjust exposure compensation or fix the exposure to a specific subject using AEL (exposure lock) while recording.
Autofocus is akin to the 7D’s control, where the ‘AF-ON’ button on the rear of the camera is used to adjust the single autofocus. However it’s less accurate than its sister model and can sometimes miss focus completely – certainly not the way the Hollywood movie buffs will be using the camera.
Lens advice
Lens focusing noises can also be picked up by the onboard microphone (depending upon what’s mounted and whether it has silent focusing or not – always worth checking for Canon’s USM, aka Ultrasonic Motor, for silent focusing), although a 3.5mm mic jack is available to connect third party microphones for more professional off-camera audio recording. Although autofocus is one noise of concern, image stabilisation may also produce a continual whirring/clicking sound – something else to keep an ear out for, but that’s dependent on the lens in use.
The 5D MkII’s white balance isn’t a problem, as such, though leave the camera on AWB (Auto White Balance) and you may find changes in light being overcompensated for or stronger colours appearing more muted then they ought to. Setting the WB manually overcomes this issue easily.
This camera isn’t one for casual point-and-shoot users, largely down to the so-so single autofocus mode and lack of any other camcorder-like features. But aspiring moviemakers will be pleased by the 5D mkII’s immense final quality and provision for full manual control. The large sensor delivers quality not matched by any other (the Nikon D3s is the only other current full-frame, movie-capable stills camera), though adding extra kit to hone your steady hold and manual focusing abilities may be an essential in order to deliver true pro-looking shots.
Video specs
Approx price: £1,700 body only
Sensor: Full-frame 35mm (1x magnification)
Maximum resolution:1080p capture (1920x1080px)
Frame rate: 24, 25 and 30fps
Compression: H.264 compression for video and Linear PCM audio
Audio support: 3.5mm audio jack for external microphones
File format: MOV
Exposure mode: Programme mode with exposure compensation & AEL; Manual mode with live aperture and shutter control; Aperture Priority with live control; Shutter Priority with live control
Focus modes: Single autofocus or manual focus
Connectivity: HDMI-C out, A/V out
All five of these stills cameras provide some level of manual control, in itself signifying that these aren’t low-level playthings. Often pro-spec, it’s likely you’ll need some existing camera, video and lens knowledge to make the most out of using these models for the best possible video capture.
Only the D7000 and GH2 provide continuous autofocus that’s likely to appeal to the more casual point-and-shoot user, whereas the other models are big beasts designed for pro-aspiring users in the know.
Of the five models the Olympus E-5 is at the bottom of the pack (in fact lesser models will achieve far more). Its low resolution, low quality files and AVI format just won’t cut it in today’s market and this model feels out of date in a video capture world that’s moving at a rapid pace.
A step above is the Nikon D7000. It’s got plenty to sell it such as the continuous autofocus mode, but focus and fluidity of playback fall just below the mark at this price level.
The two Canon models are of a similar high-spec ilk, though the 5D mkII has unrivalled final quality thanks to its full-frame sensor. If quality is what you’re after and full manual focus and controls are integral to you (an aspiring film maker, perhaps) then this is a great route to head down. Canon’s lenses, while not to the same level (or cost) of, say, Panavision lenses, they are still staggeringly good and there are a whole host of wide aperture primes available that can take your shots to the next level.
For the more point-and-shoot minded the GH2 is the most successful marriage of quality and ease of use. The smaller sensor means files don’t outdo the 5D mkII, but the Lumix’s 24Mbps 1080p quality is up there with top of the range camcorders. Add to this the touchscreen control and silky smooth continuous autofocus and there’s a whole lot to like about the Panasonic – it’s the one most likely to banish camcorder rivals off the shelves.
Post by