Achieving high quality video is easier than ever with 'HD' camcorders all over the marketplace. But, the reality is that whatever the technical specification of a video camera is, it is unlikely to produce video as lush and and as 'filmic' as can be achieved with a suitable DSLR ( Digital single lens reflex ) camera. The relatively large chip or sensor size of a DSLR costing only a few hundred pounds ( say $350 ) gives the videographer the capability to shoot with very small depth of field. Much more so than is possible with a $350 camcorder. Depth of field is a product of sensor size as much as it is of aperture/focal length. Those DSLR cameras that shoot high quality video do so on a chip which is much larger than a video camera of comparable cost.
Currently the weapon of choice is a Canon 5D, with a very large sensor relative to cost-comparable video cameras, but the Canon 7D for example can be found new for about ?900. Although the 7D sensor is smaller (The APS-C sensor, as used in a 7D range from 20.7?13.8 mm to 28.7?19.1 mm). It still gives that essential ability to produce an image with a small depth of field. The beauty of DSLRs as video cameras is that the lenses can be so very good. It's possible to upgrade you kit slowly, searching out second hand prime lenses of very high quality.
Now what of sound you ask. Well it's possible. the DSLR was not designed with sound in mind, but recording sound 'offboard' on a digital recorder enable you to acquire the best sound possible. Again rather like the camera, a 'soundkit' can be upgraded as you go, buying radiomicrophones and suchlike as they can be afforded. The problem of 'synching' the sound is so much easier nowadays with a number of 'waveform chaser' software add ons for editing programs. Load your footage from the camera, load your sound from a digital sound recorder and incredibly the software does the rest! Then you can get on with editing your rushes with sound.
A digital recorder with 'audio out' would enable you to use a cheap radiomic to send the audiio to the camera. A receiver on the camera, say on the hotshoe mount, and plugged in to the cameras 3.5mm audio in socket, means you have 'guide audio' on the rushes. The quality may not be great, but it enables you to edit, then come back and manualy synch you sound from the digital recorder only synching that sound as is needed for the final edit. A basic digital recorder will record a timecode on to the audio rushes, accurate to the nearest second. This can 'read aloud' into the microphone at the start of a take. This timecode will then be radioed to the camera and can be used to identify the correct take in the final sound edit.
More expensive recorders can run 8bit timecode, accurate to the nearest frame... but hey... lets leave that to the pros!
Guy Satchwell is a freelance sound recordist in the UK
http://www.guysatchwell.com/
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