Best Camera for Documentary work?

Hello, I am looking for a camera to make a documentary. I have looked at the Canon 70D while using a zoom capture device for sound. I recently looking at the Canon XA25, would this be better? And do I need to use an external capture device for sound?
I wanted something that can take stills but am willing to let this go for superior video quality and better sound. As it stands I have a budget of around £3500 to buy a camera, audio equipment and everything else (batteries,memory).
thanks, Tom!

I would guess that most of our elitists (humor here :)) would say that mini-DV is crap and HDV is just a larger form of said crap due to the high compression needed to get all that HDV data onto a mini-DV tape.
Having said that, I soley use an HDV cam (Sony HVR-A1U). I always shoot HDV and in cam downconvert when capturing into FCP.
If I had had the money and transport (inconspicuous travel) wasn't my thing, I would have gone with that Panasonic P2 one (can't remember the name) or another true HD cam.
But, I'm extremely happy with my choice. When the money is there I'll add the HD cam and use my A1 as a second an my travel cam.

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Video camera for greenscreen work +

Hi. I'm going to be setting up an in-home studio for a weekly, 1 hour show (to be viewed on the internet, not sure if could ever get it onto public access stations but might like the option).
The studio will be 20' long by 16' wide (probably minus a carveout for a bathroom) - but will retain a 20' length for filming.
For noise control, planning to hang heavy black curtains on the sides and camera end, add some carpeting, and possibly some simple / inexpensive treatment on ceiling as well. Will either paint back wall green or get some chromakey material to shoot against. WIll have a desk with 1-4 people for the show, positioned 6-8 feet from the greenscreen, and the camera on the other end (roughly 12 feet away)
I'm trying to keep the cost as low as possible, but would like it to be a step up from my $200ish consumer camcorders (a JVC Everio and a Canon HV20), so I've been looking at some used Prosumer or Professional Video Cameras that would allow me to capture the 4:2:2 colorspace I want to do for improved Chroma Keys. (I have Adobe Master Suite CS6 and will be doing my work in After Effects and Premiere)
We have a Sony DSLR A200 which came with a couple of lenses, but don't have any additional lenses beyond that (or much camera experience - so all sugestions welcome).
Cameras I've considered include
Sony HVR-V1U which I can get locally for about $1000 or less; one just sold on Ebay for $800ish - I'm a bit reluctant to make that big of a purchase there, but might consider it if a well established seller / store - B&H suggested this camera didn't give you 'true' 4:2:2 colorspace via HDMI; Sony said it did give you the colorspace, what was lacking in these earlier models (or hmdi ports maybe) was ability to transmit full intensity data (for brightness)
Think I might need to buy an HDMI Capturing device to get the 4:2:2 signal - Atomos Ninja 2 runs just under $700, lets you record directly to Hard Drives so fairly inexpensive option for massive storage; Have also seen a variety of products from Blackmagic (Intensity Pro - and Hyperdeck Shuttle - ranging from $150ish-$350ish)
Canon XF100 is newer, seems to be a superior camera. Records onto generic Compact Flash cards (which could help limit expense and make for easy editing); and meets 'broadcast standards' of 50Mbps at full HD, and might not need external HDMI capture - saw these at B&H for between $2000 used, $2500 new; Currently listed for $2100 at 42nd Street Photo.com - which looks legitimate as best I can tell.
Heard BlackMagic Pocket Cinema Camera mentioned as well - much cheaper, roughly $1000 for new - but seemed like those might need a variety ofa dd o (dont know if compatible with my Sony lenses) - and require fast (expensive) SD cards
Would welcome any advice about good video camera for greenscreen work - along with any experience on the Atomos Ninja 2 or Blackmagic products retailed above (and any tidbits on setting up audio/video studio; will be recording some music in there as well)
Thanks

It's a trade-off ... which is to say, it's like Life in general, right?
That many people that close-in is gonna be awful tight. Two people, ok ... three pushing it ... four is gonna work you some. Getting talent any farther away from the background given the limited distance the camera can move is not likely, without getting too wide a view from the cam exposing off-screen areas.
As to the screen blending into the floor ... you can affix the front edge out from the wall such as to get a curved shape that can visually blend wall into floor, you need a good two-feet radius to pull it off though. And if someone steps back, um ... yea, screens and photog's background paper can easily get a fresh new hole in them.
The "cove" backdrop support is a common commercial photographers tool ... needs to have at least a two-foot radius to be able to blend it visually from floor into wall. Often made by cutting 1/4" ply into 4-foot squares, then drawing a circle on them with a 2-foot radius, cutting out with a jig saw ... resulting in four corner sections that will be used for building the cove itself. Each with that radius of a circle cut out of it. Screw some small wood blocks onto the straight sides, using these blocks to fasten the cove-form sections to the wall and floor, then maybe three blocks flush with the edges of the cove one in the middle of the arc, then equidistant each side from there. Measure from an inch or two off the cove form onto the floor up flush with the bend of the cove and an inch or two past the cove-form up the wall. Cut a strip of 1/4" ply or masonry board or whatnot (some short of thin bendable but tough sheet good) that fits this dimension, push them tight to the form and screw through the sheets into the woodblocks on the cove forms.
Then your screen material can just drap over it and you won't step through it. We built one for our studio, it's 12 foot wide, works great ... and put two layers of 1/4" ply over it, the first stopping just at the edge of the cove form, the other going past that another inche and a half or so.

Best camera for low light and sports

have the sx200is
looking for a newer camera for sports and low light shots

The challenge with sports is that you are REALLY pushing the camera gear to it's limits. Fast action requires fast shutter speeds. But fast shutter speeds demand a lot of light and only outdoor games played during the daytime have that. Indoor games or games played under field lighting at night generally do not have the kind of lighting needed to shoot with fast shutter speeds -- not the kind of shutter speeds needed to freeze action. So this ends up demanding a camera with excellent ISO performance and lenses with very low focal ratios so they can collect a LOT more light when the shutter is open. This gear is expensive.
You will want to consider a reasonable budget depending on what you can afford and the needs of the specific sports.
Are these indoor or outdoor sports? If outdoors, are these played during the day or are they night games?
The "best" camera for sports and low light is the EOS-1D X. It has phenominal low-light performance, has an amazing focus system, and can shoot at 12 frames per second. But it's about $6800 for the "body only" and then you still need lenses. I'm guessing this is probably not what you had in mind. But if money were not a constraint... this would be the one to go for.
The 5D III is another amazing camera for low light performance and and also has an amazing focusing system (largely the same as the 1D X) can shoot at 6 frames per second, and only costs $3500... again, that's the "body only". Still probably not what you had in mind.
The 70D has an extremely good focus system (though not as good as the 5D III and 1D X), not quite as good as low light (but pretty good and much better than a point & shoot camera) and shoots at 7 frames per second (1 fps faster than 5D III) and it only costs $1200 for the body only.
The T5i will be noticeably less expensive than the 70D... a good (but not extremely good) focusing system and 5 frames per second, but the body and 1 kit lens combined is about $850 but that wont a lens suitable for use shooting sports so you'll still need to invest in more appropriate lenses.
When shooting action photography in low light, what you _really_ want is a lens that can collect a lot more light than the average lens for that very brief moment when the shutter is open. Such a lens can allow you to use a faster shutter speed to help freeze those action shots. But *which* lens you use depends on the sport.
For low-light sports, these would ideally be f/2.8 zoom lenses... but f/2.8 zoom lenses are not cheap. Canon's EF 70-200 f/2.8L IS USM (ideal for most indoor sports and outdoor sports IF the action is happening close to you) is about $2500. Sigma's lens is about half that price. But if you're covering action on a large athletic field and the players are far away, they'll still be small. Sigma makes a 120-300mm f/2.8 zoom for sports... for the low low price of only $3600.
Scott Kelby does a video to talk about sports photography and he discusses the equipment used and why... and basically says if you want the gear for shooting sports, you basically need a suitcase full of money.
Tim Campbell
5D II, 5D III, 60Da

What is the best camera for me?

I don't know much at all about cameras, so I'm really hoping someone will be able to help me! I'm looking for a camera that's better than your standard point and shoot digital camera but one that doesn't cost a fortune. I want to be able to take pictures of NASCAR cars going down the track without them being blurry. I would also like to be able to take pictures of things that are sitting still or aren't going quite 200 mph. I guess I just want an all around good camera that also has the ability to take good, non-blurry pictures of NASCAR cars in motion. I was wondering if anyone could tell me what the best camera and/or lense would be for this. Thanks so much for your help!

This is one instance where good gear helps but knowing how to use it properly is more important. Panning skills will be important, & so will choosing the right focal length of lens. I'll assume you have to shoot from the stands but don't know how far you'll be from the stretch of track you're hoping to shoot the cars along. A camera with a good AF system matched to a lens with fast AF capabilities will help too, but you could do this old school & use manual settings & manual focus too. You would set up the camera based on the lighting favoring a Tv that can freeze the car but blur the background & wheels / tires. Then you pick an ISO to allow shooting in the f8 range at that Tv & pre focus on the section of track in front of you. Pan with the car or group of cars as they go by & take a few shots while they are in the zone you've pre focused on.
If however you're really serious about it & think you'll attend enough events to justify spending the money the 7D, 1D2n, 1D3 & 1D4 are all worthy bodies for action thanks to their AF systems & frame rate. For lenses I suggest considering any of these as a starting point but again you may need longer depending on access to the action. 70-200 f4 L, or the IS version or maybe the f2.8 versions but since the 70-300 L IS seems to have both a very fast & accurate AF system it would be my first choice as a from the stands starting point. The 100-400 L would be my next addition to a motorsports kit but I don't think it's the lens I'd start with.
As for setting up a camera for action (DSLR's but some P & S may work too) I wrote an article which is a good starting point & the suggested shutter speeds for prop planes fit a rookie shooting motorsports so I recommend reading this plus use the link in my last post for another set of lessons from Canon that you should read.
http://www.rccanada.ca/rccforum/showthread.php?t=147971
As a side note I started attending R/C events to work on my panning skills so I'd be better at the track. A smooth panning swing is developed through practice & it's the key to good results, and follow through after the last shot in each sequence.
"A skill is developed through constant practice with a passion to improve, not bought."

Best camera for compositing

I don't know if that's the best place to ask this but anyway ... I'm considering buying a HD camera for some short-movies and other minor projects but since I'm also interested in studying Shake, I'd like to know which specification I should take a closer look at for maximum results when doing compositing/etc ? Or in other words which of these specs are more important for compositing work ?
Color spacing ? (DVCPRO HD's 4:2:2 vs HDV's 4:2:0) ? High resolution (XLH-1 and JVC HD100's high res vs HVX200's lower res) ? Sharpness ? Progressive chip ? And how do you compare (for compositing purposes only) these flavors of HD with Super 16mm shot on a pin-registered camera using a sharp lens and Spirit datacine ?
(I mentioned these codecs before but my idea is to move to uncompressed for this kind of work)
Appreciate any help.

I would guess that most of our elitists (humor here :)) would say that mini-DV is crap and HDV is just a larger form of said crap due to the high compression needed to get all that HDV data onto a mini-DV tape.
Having said that, I soley use an HDV cam (Sony HVR-A1U). I always shoot HDV and in cam downconvert when capturing into FCP.
If I had had the money and transport (inconspicuous travel) wasn't my thing, I would have gone with that Panasonic P2 one (can't remember the name) or another true HD cam.
But, I'm extremely happy with my choice. When the money is there I'll add the HD cam and use my A1 as a second an my travel cam.

Best camera for Cisco Video Advantage

Hi,
I am looking for a camera which is having the best specifications for Video advantage. It looks like the Microsoft LifeCam NX-6000 is the one. (1600 x 1190 with 30 fps) Does anyone have experience with this camera or who has good experience with a camera which is not listed in the "tested" camera list:
Cisco VT Camera II
â¢ Cisco VT Camera
â¢ Logitech QuickCam Fusion
â¢ Logitech QuickCam for Notebooks Pro
â¢ Logitech QuickCam Pro 5000
â¢ Logitech QuickCam Ultra Vision
â¢ Microsoft LifeCam VX-6000
â¢ Microsoft LifeCam NX-6000 Webcam
â¢ Creative Webcam Live Pro USB 2.0 Webcam
Thanks in advance,
Jeroen

Hi Mark,
Thanks a lot for your reply. We tried several models which are not in the list. They all worked. The only problem is that the Video Advantage narrows down the format. I tried the Logitech Quickcam Sphere AF. In the Logitech application it's a great Webcam in with HD quality but these are the Specifications of Video advantage:
â¢ H.263 and H.264 video codecs: Bit rates from 50 kbps to 1.5 Mbps
â¢ Video formats (up to 30 frames per second): 352 x 288, 320 x 240, 176 x 144, and 160 x 120
â¢ Interoperable with most third-party H.323 video terminals from verified IP video telephony partners
So it's only working at 352 x 288. I hope the next version of Video advantage is able to increase the resolution.
I would also like to know if there is a way to enable the camera automatically when a phone call is established.
I don't have a MCU to do video conferencing but is there a way to conference a none-video phone into an video conversation?
Thanks!
Regards,
Jeroen

Best Camera for Graphic Design

I am a Web Designer and Graphic designer in American Samoa. I am looking at cameras for when local clients want me to do work.
What is the best one to get. I want a professional grade, not some $49 special from Wal-Mart.

Bill & Brendon, I have a G1X which I got to replace the G10 my wife has decided is now hers The G10 has totally changed my wifes approach and enthusiasm for taking pictures, mainly because her pictures are soo much better than with the little cheap compact she was using.
However, and it's a pretty big 'however' IMO, a G series camera is a convenient carry around camera that gives good results (the IQ from my G1X is at least as good as the Canon prosumer level DSLRs that I get to process files from, but it sure as heck is not a DSLR, and does not give the sort of control you'd need for a working camera. I actually PM'd the OP to keep an off topic thread growing (but it happened anyway) I suggested a used 5D2 and a Canon 100mm macro lens. That combination would be capable of outstanding product shots, and a lot of what a web/garphic designer might need to shoot.
BTW I get to process files from different assistants/second shooters, and can compare IQ. From the Canon range, the 5D variants can always match the image quality of my 1D bodies (I use 1DsMK3 and a 1DMK4 bodies). The prosumer cameras I have delt with don't come close, and even 7D shots fall short). Remember that is from processing many hundreds (probably thousands) of images from those cameras, so first hand experience.
As for my G1X, I got it as a carry around camera, and to take on overseas holidays as I am fed up with lugging heavy camera gear around, but I not yet convinced that I will feel comfortable relying on a compact camera.

Best Camera for $1500 or less

What is the best mini-dv 3ccd camera for $1500 or less? I wish I could spend more but that is my limit at this time and I need a camera bad. Any suggestions?

Hey,
Keep in mind that the XL-1s is somewhat clumsy and awkward to handle. If you are used to ENG style... the Canon has no comfortable way to rest it on your shoulder. If you like to hold it out front, using the top handle, while framing your shot with the flip-out LCD... the XL-1s has no flip out LCD. Just a big eye cup style viewfinder.
The up side is the interchangeable lenses available for the XL-1. But if you are test driving one this weekend, be sure to ask how many lenses that price includes. Also, is there a wide angle adaptor included as well.
For my money... a used Canon GL-1 or a GL-2 if available, (the GL-2 is the newer version, with a better audio section). Being Canon devices, they already have superior optics. Both camcorders feature optical stabilization and [real glass!] 20:1 built-on lenses, and good sized flip-out LCDs. Since 2000, our church has been using 3 GL-1's for recording the services (via long S-Video runs to the switcher) as well as on remotes for the special dramatizations which are shown on the big screens during the actual services. Never a down day. The GL-1 is able to record in 30p as well as 16:9 anamorphic, and download via Firewire into any NLE. I've owned mine since 2000 as well. Never a glitch in the beginning with iMovie, later with FC Express, or now with FCP 5.1.4!
So... get yourself a used GL-1 and one of those Beechtek DXA-2S mic/line adaptors, so you can use pro mics in the field, and for under $1,500 you have a formidable, light-weight shooting rig.
JC
G5 Quad 2.5 PPC Mac OS X (10.4.10) 3 monitors powered by GeForce 7800GT and 6600. JVC GY-HD100 camera; FCS 5.1

Best setting for night work under lights

Hello
I'm not sure if this the appropriate place to post this. If not can someone advise a good forum.
I am shooting with a Canon HFS10. I am shooting nocturnal animals feeding in the wild using tungsten balanced lights.
My question: Which is the best setting to use for such an event?
Portrait auto white balance
Program tungsten white balance, or
Night setting auto white balance.
I did some shooting on all 3 setting & tell the truth cannot see much difference. This was the reason for an earlier post asking about whether i-movie stored the video shooting conditions.
Thank you.....IAIN

Of course this is a camera / videography question. I would say, from my own limited experience, that low light conditions might sometimes be handled best by the "auto" setting - let the camera adjust itself seems to gain best results for me.
Otherwise - I would also look for a user group on line: either for general video-making or for the specific camera you own.
Also remember that, in iMovie 8.0, double-clicking on any clip brings up the editing controls panel where you can adjust such things as Levels, brightness/exposure and saturation. These tools can compensate "noticeably" if not completely on clips shot under less than optimum conditions.

Best camera for imovie

Can anyone recommend a camera that takes decent quality 15 min videos, compatible with imovie & mac, posting of my website so will be viewed by all computuers, easy to use and a reasonable price - I am a total novice as you can probably guess! thanks

H3l3nA wrote:
… if I film in iframe it is is completely compatible with imovie - then read the quality of footage is not hd
I definately want a proffesional output
short answer: iFrame IS professional/HD
long answer: many/most 'professional' content seen on TV isn't HDef!
'quality' isn't defined in pixels - ANY content recorded in 1080i gets de-interlaced on/for the web - ooops, 540 'only' … iFrame is 960?, 720p is ... ehm, 720.
usually, I don't participate in any 'qualiy'-debate - people are hypnotized by pixels, numbers, marketing promises - and miss completely the point: cinematography!
I gave you some hints for professional cinematography - light, light and light. tripod. 'professional' audio. tripod. an edit, no single shot, hour-long documentary of what went wrong. a tripod and perhaps good light. photography: depth-of-field, rule-of-3rds, contrast, color, and a tripod. and maybe additional light ...
....... you got the idea
another word about 'quality' - use the intended work-flows (Apple is famous for convenience); any 'manual' processes ask for a very in-depth-knowledge, eg compression: people complain 'bad quality' on final delivery on YouTube, but compress on recording, compress on conversion, compress on edit ("files are huge" - soooooo, what?!??!!), compress on export - and finally, oh wonder: 'pixels'.-
-end of rant-
good photography, good cinematography, good audio (includes: smart text, clear voice) = HD-quality.
Picasso created great art with a chewed pencil and a paper-napkin.

Best camera for our use?

hello,
We are a web company that is interested in doing quality videos of our client speaking about their company or for testimonials to put on the site. We have a green screen, and have did some tests with a borrowed Sony HDR-HC3 HDV 1080i. THe results came out good but we want to get a camera ourselves. The the videos will mainly use for the web, but I guess we want the flexibility to use higher resolutions. Would a AVCHD camera work good? ALso what's the best storage, tape based or flash?
Thanks for any recommendations!

hey there Kevin,
i prefer & use tape-based cams due to my budget & it's a tried/true technology. will you be working in FCP or FCE? FCE will convert your AVCHD or HDV files & take about 4x the space of SD DV. FCP/FCS2 can work w/ HDV natively, so no conversion=same size as DV, less storage. i also use FW 800 HDD for asset storage/management & keep my tapes. also w/ AVCHD/HDD cams when you dump your footage, the cam gets emptied & you have no physical copy of your footage for back-up, another reason i prefer tape. i like my Sony "baby Pro" HDV cam, the A1-u, though i mostly shot WS DV, not Hi-Def, it does take a good HDV image in decent light & i got/use ND & UV filters when needed. others will have other prefs, you may want to Google some cams/manufacturers.
Sony's HDV cams use the 1080i format, there's nothing higher rez for these type cams. if you're talking frame rates, Canon's higher-end & the newer Sony Pro HDV cams are variable($8-12K). if you want more you're looking at a much higher cost(~$25K+) for a cam.
good luck.

Best camera for low light pictures?

Hello all.
I have a blog about gastronomy. I visit a lot of restaurants and take pictures of pretty much everything I eat. And in most cases, those pictures need to be taken without any kind of flash and at somewhat dark rooms.
Which mode would be best for these conditions?
It is also important to mention that I only have some basic understanding of photography.
Thanks in advance,
Marcus

Scott / Cicopo,
Thanks a lot. This has been extremely helpful.
I will post again once I had the opportunity to learn a little about the camera. Hopefully I can make you guys proud
Cheers!

Best Camera for FCE under 3K?

I produce semi-professional videos for the corporate world. fifteen to twenty minute shorts designed to convey engineering details for commercial real estate. I'm going to use FCE as the NLE to put it all together. My question is, WHICH CAMERA IS BEST to use if FCE is going to be the editor. I'm not looking for a BestBuy camera, but I don't need a $10,000.00 Sony either. I want to get as many professional features as possible thought for around $2K to 3K. Furthermore, I've heard that many codex are not compatible with FCE.
Can anyone point me in the right direction?

Presumably you are looking for something like the Canon GL2 ......
http://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=165&mo delid=7512

Best camera for importing HD video files native to FCP?

I am researching what type of HD video camera to buy. The goal is to have video material captured to a memory card or stick and have the resultant video files available for direct import into FCP. I have used rented cameras in the past where I had to go through a convoluted process of importing the video material into iMovie, and then exporting the material from that application, so that the video files were usable by FCP.
Any info on how to judge whether a camera will create files that can be imported directly would be very helpful. I have read, for example, that if the camera creates AVCHD files, you can't edit natively in FCP. I am looking for a camera that is relatively portable, and has image quality one notch below pro standards (to keep cost under $1,500 I hope.) Thank you in advance.

Hi again, Guys.
In this discussion, the consensus was that the Panasonic HMC-40 was a good choice at a modest price for shooting HD material that would be cut on FCP 7. Sadly, I neglected to say, when I started the discussion, that ideally I need to shoot both in the US and the UK. i.e. at 60 Hz and at 50 Hz respectively. When I researched the Panasonic HMC-40 I was told that it could not switch between 60 and 50 Hz. But that the next camera up COULD switch. That camera is the AG HMC 151 E. I was told this by a Panasonic rep in the UK. But the problem is that I would like to puchase the camera in the US. The US model is the AG HMC 150. And that model it seems DOESN'T switch between 60 and 50 Hz. It only shoots 60. (Why Panasonic has done this is a mystery to me.)
On a tech discussion group about HD shooting, one person said that the problem with shooting 60 Hz in the UK is mainly lighting, e.g. if you are shooting with florescent light in the UK, you might get flicker if you use a 60Hz camera in the UK. So my questions are:
1) If I am shooting in the UK with a 60 Hz camera (i.e. a camera I have purchsed in the US that is not switchable) what are the biggest problems?
Is it only if I were shooting in florescent light, or is the quality overall a big problem.
2) If I shoot 60 Hz but am shooting in the UK, can I use FCP to convert the 60 Hz materail to 50 Hz and will that solve any image problems?
3) Now that I have mentioned that I would like to be able to shoot in the UK and US with the same camera, but that I want to buy the camera in the US, does anyone have another recommendation of a camera that is in the $2,000. range that would serve this purpose and still create files that would work well in FCP 7?
Do Sony or Canon address this switchable 60/50 Hz issue more effectively than Panasonic? In the earlier discussion, it was noted that Panasonic cameras created files that were easiest to use with FCP.
I am sure I have said things here that reveal how unknowledgeable I am about shooting HD. But this will be my first camera purchase after having been an editor for over 10 years. Any advice most welcome, and thanks in advance.

Best Advice for a working web-based email, calendar and contacts sync system

I am setting up an office with people that use Blackberry curves. They all have Gmail but that is not important at this point - what I am hoping to achieve is a working (note the operative word: working) solution for keeping a calendar, contacts, and email all in sync on the Blackberry devices. Google promises much but fails to deliver a working solution, their system is frought with problems form errors to duplicated events and contacts to slowing down the phone. Does anyone have an alternative scenario using some other free web-based solution that actually works well? Feel free to post your working solution!
Thanks!

check out funambol or scheduleworld
or stick with the gmailsync... it will eventually work... it just got released not to long ago... they will work out the bugs... once they do, it will be the next best thing to a BES
Message Edited by drizzt09 on 05-08-2009 11:39 PM

Best Camera for Documentary work?

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