Video Buying Guide
June 04, 2019
Video has long been considered a mysterious art, only for the professional filmmaker or the intrepid and doting father lugging around a huge camcorder and tons of cassettes.
The advent of digital photography has changed all of that. Current DSLR and mirrorless cameras are providing the same or better performance than high-level cinema and broadcast cameras, at a fraction of the cost and weight. Just as photography is a wide and varied world, so too is videography and it is equally rewarding and exciting.
This digital video camera buying guide will help you understand what video setup (cameras, lenses and accessories) you should look at as you dive into the world of the moving image!
What Video Camera Should I Buy?
Choosing the right video camera can seem like a daunting task and that's partly because there is no single right or wrong camera out there. All current digital cameras on the market will do video to some degree. All the major camera brands have good video capabilities, so we need to look at other factors to decide.
Here are some things to keep in mind while looking for your ideal setup.
Fixed vs Interchangeable Lenses
You can either buy a camcorder/bridge camera with a fixed lens or buy into an interchangeable lens camera system (e.g. DSLR or mirrorless).
Compared to systems cameras, camcorders and bridge cameras usually have the following benefits:
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cheaper
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often lighter
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equipped with a built-in zoom lens for immediate versatility
Systems cameras have the benefits of:
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better image quality and low-light performance due to larger sensor sizes
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multiple lens options providing ultimate flexibility
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(usually) sharper lenses compared to those on fixed lens cameras
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more accessories designed for the system to enhance filmmaking
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many more professional settings for video
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generally better build quality compared to a camcorder or bridge camera
DSLR vs Mirrorless
DSLR cameras ruled the professional landscape for many years but mirrorless cameras are an equally viable alternative. Most of the benefits of DSLR cameras do not apply to videography. So unless you are splitting your time between photo and video in one camera, mirrorless cameras are arguably the better option. Mirrorless cameras are lighter than their DSLR counterparts and have as good or better image quality and video settings, not to mention equal versatility in terms of lens and accessory choice.
Sensor Size
Sensor size is an interesting question when it comes to picking a video camera. While the sensor size will usually not have an impact on video image quality, it will still have an impact on depth of field control and low-light capability, as a larger sensor will most often allow for more light sensitivity.
As in photography, all other things being equal, the bigger sensor the better. However, it is interesting to note that most cinema cameras have a sensor size smaller than full frame (35mm). Cinema cameras tend to combat low light situations with artificial lighting and excellent lenses, which is an option for you. Advantages of small sensor cameras are that they are typically lighter and often have excellent features and video settings because less processing power is required to read information off a small sensor.
Stabilisation
In Body Image Stabilisation (IBIS) can be an extremely handy tool allowing for smooth handheld shooting. However, many people shoot handheld without IBIS and there are also mechanical stabilising solutions available.
Autofocus
Pretty well all digital cameras will have autofocus (AF) but not all of them can operate AF continually while recording video. Continuous AF (C-AF) systems differ from brand to brand with some performing better than others. Filmmakers typically do not use C-AF as each shot is meticulously planned, but someone shooting events or documenting live action does not always have the time to plan their shots. In these cases C-AF can be extremely useful and still produce great looking results.
Resolution/Megapixels
Unlike in photography, megapixels (MP) are NOT very important in videography. This is because the sensor resolution requirements of video are small in comparison to standard sensor megapixel counts. For example, 4K resolution only requires about 8.5MP and the average camera sensor is many times that. In fact, there are benefits of having fewer megapixels – namely increased low light performance.
Record Limits
Most DSLR/mirrorless cameras have an internal record limit of 30 minutes, which can be a nuisance when shooting something like a concert. However, most people learn to deal with this impediment. Some cameras, on the other hand, have an unlimited record time, so it’s worth looking out for one if you plan to record for longer than 30 minutes.
Alternatively, you might want to invest in an external video monitor (see below) that removes the 30 minute record limit.
File Codecs
An important consideration when choosing a video camera is the file codecs it has on offer. A file codec will determine:
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the quality of the video
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the file size of the video
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the frame rate of the video (can I do slow motion?)
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the scope for colour and exposure correction
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how much processing is required to edit the video
A good thing to look for is a video codec that can be played back in slow motion, does not take up too much memory space, is sharp, and can be edited in post-production easily and effectively. A codec with minimal compression will take up more storage space but will typically be easier to edit in post-production.
What Lenses are Best for Video?
Like photographers, videographers can choose from a large range of lenses to suit every need: long lenses for sport and wildlife; wide lenses for street life, landscapes and people; macro lenses for detail; and standard lenses for a bit of everything.
Lens choice for video involves balancing performance, cost and weight. For those starting out we recommend a wide lens in the region of 16-35mm and a standard lens in the region of 50-100mm. As in photography, a good video lens will have a fast aperture to control depth of field and make the most of available light.
A special thing to note is that the best video lenses will be par-focal; this means that zooming the lens will not change the plane of focus. Most lenses designed solely for video have very large focus rings, to give the operator maximum control over focus transitions.
Video Tripods
Look for a stable tripod with a video-specific head. A fluid head is designed to offer smooth motion while shooting video. You can read our guide in buying tripods and monopods to help you find the perfect gear.
Stabilisers
Stabilisers help capture smooth video when not on a tripod. They absorb bounce from operator motion, such as walking, and allow for creative movements. Most stabilisers are motorised and use gyroscopic motors to smooth movement and keep the camera level. Lighter camera setups tend to utilise a one-handed gimbal, whereas bulkier or heavier setups should be used with a two-handed gimbal. Most one-hand gimbals can also be converted to two-hand use via accessories.
Microphones
Capturing audio is a very important part of good videography. Many argue it is more important than the video quality itself.
All digital video cameras will have an onboard microphone to capture ambient sound; however, they are not recommended for professional use. A good upgrade to onboard sound is a shotgun microphone that can be mounted on or next to the camera. This will significantly upgrade your sound quality.
For the best recording quality during interviews a lapel microphone is recommended. A lapel mic attaches to the speaker's neckline via a clip and captures good quality audio of the speaker’s voice while excluding the majority of ambient noise. Lapels can be wired, connecting directly to the camera or into a sound recorder, or they can be wireless, allowing for the speaker to be some distance from the camera.
Other types of microphones include boom mics, NTGs and stereo mics. All these are capable of enhancing your video recording depending on the situation.
Video Lighting
Lighting is an essential tool for a videographer, and artificial lighting can play a big role in improving your video production. It allows you to control the direction and intensity of light and create your own mood, rather than relying on natural light sources. They are excellent for adequately lighting otherwise dimly lit scenes that would normally push the limits of your camera or even grind your shooting to a halt.
Video lights come in two main styles: Fresnel lights and LED panels.
Fresnels are good for providing powerful light and throwing it over a large distance but without diffusion they can be quite harsh and artificial looking. Most operators would use a modifier such as a scrim or softbox to diffuse the light or bounce it off another source to soften the effect.
LED panels are good because they are portable, often cheap and provide a less harsh light due to the panel size. The downside of these lights is that they are usually not as powerful as a Fresnel light and there aren’t as many diffusion accessories available for them.
For more on video lighting types and setups, check out Vlog Lighting Setups Made Simple.
ND Filters
A really useful tool for videographers is a screw-in neutral density (ND) filter. ND filters come in 3 stop, 6 stop, 10 stop, and variable increments. They reduce the exposure of a scene with darkened glass, allowing you to retain your video specific shutter angle/speed and also keep creative control over your aperture.
Video Monitors & Recorders
External video monitors allow you to view your scene on a much larger screen than that on the back of most cameras. They are also very bright and can have shade hoods, making them much easier to see in bright light. They can also be positioned at many angles so you can more easily see your shot, no matter what scene angle or position you are trying to achieve.
Video monitors come in two main types: monitor only and monitor/recorder. The benefit of having a monitor/external recorder combination is that you can store much larger files on an external drive. Some external drives remove the 30 minute record limit and some allow your camera to produce better video codecs.
Memory
The two main things to keep in mind when buying memory cards for video are speed and size. You want to buy high capacity, fast-reading memory cards for video. Video files usually take up lots of space quite quickly and record information at a rate that will cause slow cards to stop recording as they can’t clear their buffer fast enough.