In the test: Four top-of-the-range SLRs
Picture gallery
Can photo cameras as well as camcorder? "Yes," the manufacturers themselves say smaller "compact switches" and advertise with resolutions of 1,920 x 1,080 pixels. This is the finest HDTV resolution. Why then a test of comparatively expensive SLRs, which also offer no higher picture resolution?
The return of the changeover
Very simple: Size matters. In a large housing is a large image capture sensor. In many cameras it is as big as it was at the time of the recording of 35 mm-Kinofilmen and in some even even bigger. This makes the difference - not just to small compact cams, but also to the classic video camcorder.
Spacious furnishings
The larger the sensor, the smaller the depth of the depth of the image - or the scene. This is the art of both good photos and good films: the unimportant is supposed to appear blurred, for example, ugly background or just as a picture filler serving front reasons. In short, the eye of the beholder is directed to the essential.
What is a Rig?
The world of macro photography, the portraits with delicate women's faces, for example by Ingrid Bergman in the film classics Casablanca, all this can now be done with the reflex cameras - without the lens edges with vaseline must be used to create blur. The fathers of the Klamotte have never really done this, but their tricks of image design can now be transferred from photography to film.
But the cinema look only works with light-fast changing optics, which makes the hobby significantly more expensive. Because the depth of the sharpening is also small when the aperture is open, and the blur effect is visible. In addition, only the best glass brings the best contrasts. Even landscape photographers, who require a high degree of detail precision, are even more aware of this than their low depth of sharpness. As the camera is swiveled when shooting, marginal distortions of cheap optics are also noticeable.
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It quickly becomes clear that the subject of cinema look and home-made feature film brings the laws of photography back on the table - in the square. Because it is not only to stabilize the camera, but also to move shake-free. It is also not done with one-time focusing - either the hand or an extremely clever automatic must follow the sharpness. For videos, up to 50 images per second are exposed.
If one of them is blurred because of the motion in the picture, the viewer sees. It is clear that the cameras have to meet high demands on automation and manual adjustment possibilities and because of the film accessories also stability. The best is just good enough.
In our test, we have assembled the videofable top models of Canon, Nikon, Panasonic and Sony. Other companies hardly play a role. On the other hand, the devices belong to different classes, but they are comparable on the video side: the Canon 1D X is a tripod for absolute photography and costs nearly three times as much as the competitors.
On the other hand, a compact, forward-looking GH 3 from Panasonic, which does not even have the mirror of a mirror reflex and also has a smaller sensor. For this, it is fully video-optimized. Optimized means that the camera retains its manual capabilities when switching from photo to video, which is rare in film camera applications.
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Example Aperture: The expert will choose an optimal brightness value during the video film, which is carried through the entire scene and - if necessary - adjust slightly at the right moment by hand. Many cameras forget the manual operation modes A (time selection), S (aperture priority) or M (full manual) when switching to video, and the full automatic fades when a car with headlamp lighting travels through the picture.
Mirror reflex in the movie
It is then with the Kinoglanz, such diaphragm fluctuations have an amateurhaft. Our test models, however, can all be set manually, only the Nikon D600 had a little trouble with the aperture.
There are also great differences in the playback of the films: All cams record on fast SD cards (SDXC), only the 1D X needs CF cards. To realize long films, two cards fit into the case - except for the small Panasonic. Still, while shooting tripod operation is useful to avoid camera shake - just because SLRs are not as good in the hand as the small camcorder.
Sensor size: How big is it?
But the image stabilization continues to grow: with Sony the stabilizer sits in the housing, with the other manufacturers, image stabilization is only the topic when it offers the lens.
A microphone socket and a more or less fine sound modulation bring these top models with you. Without the good sound, the best video is not worth anything: the built-in stereo microphones provide a suitable sound, but also noise and grip noise. In addition, film-makers should consider that the sound remains unaffected and intelligible only up to two meters away from the sound source. Simply set up the camera in the auditorium and film the theater evening - this often leads to useless results.
The fascinating accessories that Cameramänner use to create the cinema look is called in the whole "Rig". It consists of a height-adjustable base plate (1) with guides for the light rods (Rods), to which the actual helper such as handles and shoulder pad (2) can be attached according to necessity with a transportable structure. Very important is the FollowFocus (3): a rotary wheel with marking possibility, which also allows fine focusing from a comfortable position to photo-optics.
The alternative: Sony VG30
Conclusion
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However, sharpening is a task for assistants. The fluid (4) is a lever to ensure uniform zooms. The most important thing is the mat box (5), which keeps stray light from the receptacles and is equipped with filter feeders (6). These are necessary for grail filters in order to realize small diaphragm values and thus large depth of sharpness. Often, a monitor or viewfinder will complete the equipment.
Just four years ago, a small video clip turned the film technology on its head: "Reverie" had been shot with a digital SLR camera. Two million people saw the clip in the first week. It was shot by Vincent Laforet, one of the most highly-qualified masters of his guild, with the Canon EOS-5D Mark II. Still in the evening after the appearance of "Reverie", famous Hollywood camera men shouted at him to wonder how he bridged the bridge In the background of his clip. "Not at all," was the answer.
Soon, more 5D Mark II SLR cameras were traded under filmmakers than under photographers, and the other manufacturers moved in. For US serials, Dr. House made the Canon SLR camera in the middle of 2010 "Help Me". Meanwhile the entire fifth season was created this way.
Hollywood also reacted: The trailer for the latest "Terminator" was filmed with SLR, and also the superhelden saga "Iron Man 2" has 5D Mark II shots to offer. The 250,000 US dollar movie "Like Crazy" won the 2011 Sundance Filmfestival and was then bought by Paramount for four million dollars.
Cinema and photographic cameras use the 35 mm wide (small-format) film. In the Kinokamera, he runs vertically past the optics, in photographic apparatus he lies horizontally. Digital SLRs have a sensor instead of the film, but the picture window is the same size (24mm x 36mm), which is about 2.5 times the size of the 35mm cinema cams
Therefore, the photo apparatuses can make even better with blur and are used by top-camera men. The smaller 35mm (16mm x 22mm) cinema film is more the smaller image sensor format of low-cost SLRs (APS-C format: 14.9mm x 22.3mm). These photosensors with 2: 3 aspect ratio are trimmed for wider viewing in 16: 9 format.
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A special path is Panasonic with its 4/3-inch sensor, which in the 16: 9 output format still covers an image field of approximately 10 mm x 17.8 mm. Classic video cameras have much smaller sensors, but all produce scenes with 1,920 x 1,080 pixels.
No matter how many pixels the SLR camera has in the photo mode - the TV system is limited to resolution. The visible difference between sensor sizes is that larger sensors with larger optics and focal lengths work to match the same. And the larger the focal length, the smaller the focus range. For example, a subject shot with a Sony Alpha 99 will show a range of 19 centimeters at a distance of five meters. On a GH 3 would be a range of 38 centimeters sharp and a 1/6 inch camcorder would be 595 centimeters.
The great success of the filming SLR cameras suggests synonymous to produce camcorders with a large image sensor. The NEX-VG30 has an APS-formatted sensor, while the NEX-VG900 features the full-format 35mm sensor of the Alpha 99. The camcorder technology is even more convenient for shooting because the devices are easier to guide and the autofocus is faster And a zoom rocker will gently vary the image portion during recording.
However, one needs matching system optics. These camcorders have a video-optimized image quality, but their capabilities in photography are limited compared to the SLRs.
Canons 1D X is the test winner. It is the most powerful and makes the best image, but develops its abilities only in the hands of professionals. If you want to gain first experience and also want to videotape without accessories, is well served with the Panasonic GH3.
The SLRs add photos to the running. The results fascinate, but with the simple hold as with classic mini camcorders is not done. Depending on the requirement is still all sorts of accessories necessary, in any case however, sound equipment and optics. The SLRs could create a whole new hobby for image fetishists.
Because the hitherto rigid pictures suddenly suddenly on a good TV knackscharf in cinema quality admire is an Aha experience. We just found the playback directly from the camera except for Panasonic still a bit tedious.
Download: Data and measured values at a glance
Download: Test results at a glance
Canon EOS-1D X (6.300 Euro), Nikon D600 (2.150 Euro), Panasonic DMC-GH3 (1.200 Euro), Sony SLT-A99V (2.800 Euro)
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