What Camera Do I Buy For My Video Work?
As filmmakers we receive many questions about the work we do and one of the frequent ones is the one that gives the title to this article, in this we will focus on comparing 2 types of cameras, the DSLR that are cameras with very good video recording options quality and professional video cameras.
Since this is an article for beginners, we leave cinema line cameras out of the competition due to their high cost compared to those mentioned above, but we will certainly talk about them at another time.
It is important to know that having a best camera to record video clips is not the same as having one for TV shows or live events. Although new technologies allow us to adapt our cameras to all kinds of circumstances, it is difficult to find an "all-terrain" camera.
It is likely that at this time you are thinking of the popular DSLRs, those with a mirror or without a mirror, these cameras allow you to achieve a good look, similar to cinematography thanks to being able to record at 23.97 fps (in cinema we visualize movies at 24fps) and exchange your optics (lenses), this is very good for creative purposes, they are also inexpensive cameras compared to a professional video camera.
Without further ado, you should take into consideration the following points:
What types of videos or jobs do I want to do?
The most common jobs that we can do with these DSLR cameras are video clips, capsules for social networks, weddings in which we are allowed to make cuts, spots for the web and all kinds of videos of not very long duration and this is important for the clip duration. A camera that records video usually does not record more than 30 minutes continuously and they are cut to create a new clip.
These cameras are not designed for long jobs like recording a 1 hour interview or long concerts as their battery is likely to run out faster and they cannot be powered.
If we force these types of cameras to record beyond what is recommended (which you can do, but it is not recommended) you run the risk that they will get too hot, turn off or, in the worst case, stop working. Imagine if that would happen in a job with a client who is paying for this service.
DSLRs are not designed 100% for audiovisual work, so you will always need additional accessories to complete your set up. The inputs or outputs they have do not allow you to connect an XLR microphone (badly called canon), you need an external monitor, a cage for better ergonomics, etc.
On the other hand, video cameras can be connected to power and are not in such danger of autonomy, they record the time it takes according to the capacity of your card, they have XLR inputs for all types of professional microphones, audio gain control, Included ND filters and built-in optics allow you to quickly scale shots if you so desire compared to a DSLR camera info you might have with fixed or variable aperture optics.
What clients do I have or want to have?
This point goes hand in hand with the previous one since, thinking that it is a camera to work with, the demands are perhaps greater. For the purposes of this analysis, we will separate our clients into two groups, those who do not know about audiovisual equipment and those who are users or knowledgeable.
There is not much to say about the first group since it is difficult (not impossible) for them to ask you about your teams when recording, but the second group is more selective when it comes to working with one team or another. This is due to its experience in audiovisual productions such as advertising agencies, community managers, online media, the press or musicians looking for a professional video clip.
As a tip we can tell you that over time it is good to update your equipment and improve its quality, the more experience you have, you will realize that your customers will be more and more demanding, they undoubtedly know what they want.