{"id":784,"date":"2014-11-18T19:25:59","date_gmt":"2014-11-18T17:25:59","guid":{"rendered":"http:\/\/photonet.hu\/online\/eng\/?p=784"},"modified":"2026-08-12T10:59:02","modified_gmt":"2026-08-12T08:59:02","slug":"professional-film-shooting-with-digital-camera","status":"publish","type":"post","link":"https:\/\/photonet.hu\/online\/eng\/magazine\/tips\/professional-film-shooting-with-digital-camera\/","title":{"rendered":"Professional film shooting with digital camera"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Cutting-Edge Technology in Full HD Quality<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Professional filmmaking was still an expensive undertaking only a few years ago, as purchasing or renting the necessary equipment could cost millions of forints. However, the introduction of Full HD video recording among the features of digital cameras revolutionized filmmaking. Commercial director Alex Nemetz and the dance\/pop group Dred &amp; Doris, which produces its own music videos, both chose this approach, and today the opportunity is open to virtually everyone.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Interestingly, D-SLR cameras capable of recording Full HD video have attracted considerably more interest from professional filmmakers than consumer camcorders whose capabilities approach those of professional equipment. The Canon EOS 5D Mark II was the first camera to offer video quality that could hold its own both on television and on the big screen. This is also demonstrated by the footage available on YouTube shot by Vincent Laforet, who was among the first to get his hands on Canon&#8217;s full-frame camera and put its capabilities to the test.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But what made Full HD-capable D-SLRs so popular in the world of moving images in such a short time, and what changed for production crews when these cameras appeared? Austrian commercial director Alex Nemetz, who lives in Hungary, has already completed numerous shoots with the Canon EOS 5D Mark II and is satisfied with the results achieved using the camera. The dance\/pop group Dred &amp; Doris, meanwhile, produced its latest music videos with a Canon EOS 1D Mark IV. Dred and Doris are a self-made creative team, so it is hardly surprising that Dred has also immersed himself deeply in the technical possibilities and tricks of D-SLR video production.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"http:\/\/photonet.hu\/online\/eng\/wp-content\/uploads\/2014\/11\/profi_forgatas_digitalis_fenykepezogeppel_allvany.jpg\"><img decoding=\"async\" width=\"800\" height=\"532\" src=\"http:\/\/photonet.hu\/online\/eng\/wp-content\/uploads\/2014\/11\/profi_forgatas_digitalis_fenykepezogeppel_allvany.jpg\" alt=\"Profi forgat\u00e1s digit\u00e1lis f\u00e9nyk\u00e9pez\u0151g\u00e9ppel\" class=\"wp-image-786\" srcset=\"https:\/\/photonet.hu\/online\/eng\/wp-content\/uploads\/2014\/11\/profi_forgatas_digitalis_fenykepezogeppel_allvany.jpg 800w, https:\/\/photonet.hu\/online\/eng\/wp-content\/uploads\/2014\/11\/profi_forgatas_digitalis_fenykepezogeppel_allvany-300x200.jpg 300w, https:\/\/photonet.hu\/online\/eng\/wp-content\/uploads\/2014\/11\/profi_forgatas_digitalis_fenykepezogeppel_allvany-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/a><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Professional Filming with a Digital Camera<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">Excellent Image Quality Even in Low Light<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">One of the main reasons cameras became so popular for filmmaking is their high ISO sensitivity, which with film stock effectively stops at around ISO 200. By comparison, the EOS 5D Mark II offers a maximum ISO of 25,600, while the EOS 1D Mark IV reaches ISO 102,400. As a result, at ISO 3200\u20136400, image quality can still be comparable to that of ISO 200 film.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">High sensitivity also dramatically reduces the physical and financial demands of lighting. Lighting the scene is one of the most labor-intensive and expensive parts of a production. Lighting the foreground is usually not a major problem, but illuminating the background, especially at night, can become extremely complicated when sensitivity is low and the filmmakers do not want the area behind the actors to appear as nothing more than a black void.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe background is particularly difficult to light at night because it requires not only a large number of lights and generators, but also placing the lighting fixtures high up, for example on cranes, so that the nighttime atmosphere is preserved,\u201d Alex explains.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Easy to Use Even in Confined Spaces<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Another major technical advantage of using a digital camera is its low weight and compact size. These characteristics open up numerous possibilities during production.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cA shot inside an elevator, for example, is extremely complicated with a conventional film camera. In such a confined space, there is barely enough room for the crew and the actors, while a very wide-angle lens has to be used, which can already lead to image distortion,\u201d Alex says.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dred recalls a car sequence from their music video <em>Sodorjon a sz\u00e9l<\/em>, in which the camera&#8217;s low weight made it possible to mount it on a tripod and simply extend it through the front window while the car was moving.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWith a 20-kilogram camera, this could only have been done by constructing a very complicated support system or by putting both the car and the camera operator on a truck,\u201d he says.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The disadvantage, however, is that a lightweight camera is more susceptible to unwanted movement, which is difficult to correct later in moving images. A suitable shoulder support can eliminate this problem, although a gyroscopic stabilization system is by no means inexpensive. Even so, the use of optical image stabilization built into lenses is not particularly common in professional moving-image applications.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Manual Only<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Autofocus is virtually unknown in professional film production. The responsibility for maintaining proper focus falls to a member of the crew known as the \u201cfocus puller.\u201d Using an accessory attached to the lens, the focus puller manually adjusts focus to the appropriate point in the frame according to the cinematographer&#8217;s requirements and \u201cpulls\u201d focus as necessary.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Crews shooting with digital cameras use the same method, because according to experienced professionals, autofocus is too slow and the required focus point often does not correspond to the camera&#8217;s AF points.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Other automatic camera functions are also rarely used during filming. White balance is usually set manually by selecting the appropriate color temperature, while differences in color temperature between various light sources are corrected with colored gels. Exposure is also generally set manually, usually slightly below the optimum value. This helps ensure that highlights are not clipped.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Digital recording also offers a significant advantage over film: while the result of shooting on film can only be assessed afterward, digital capture allows the completed footage to be viewed immediately on a monitor.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Lenses and Other Accessories<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Filmmakers favor prime lenses across a wide range of focal lengths, from fisheyes to telephotos, although zoom lenses, known in film terminology as vario lenses, are also used in much the same way. It is relatively uncommon to continuously change the focal length during a shot; when necessary, filmmakers prefer to move the camera closer to the subject.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The wide selection of available lenses gives filmmakers considerable creative freedom. Playing with depth of field has always been one of the most important tools for creating the atmosphere of a film\u2014and of a photograph\u2014and digital cameras now allow filmmakers to take full advantage of this creative technique.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The use of digital cameras for filmmaking has also created a partially new equipment market, since accessories designed for professional film cameras are generally not directly compatible with still cameras. Focus-pulling systems, tripods, shoulder supports that provide stable handling during movement, and gyro heads that reduce the risk of unwanted camera movement were already well established in professional filmmaking. However, these accessories are expensive because they must reliably support\u2014and sometimes move\u2014large and heavy camera systems.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For digital cameras, simpler, and therefore cheaper, versions are often sufficient. Adapters are also available that allow professional film-camera accessories to be used with digital cameras. More sophisticated accessories can still cost as much as the camera itself, but they remain considerably cheaper than their professional film counterparts.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Post-Production Is Essential<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Despite all their advantages, footage recorded with digital cameras still requires post-production. Full HD resolution also demands considerable computing power.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Dred explained, the MOV files generated by their Canon EOS 1D Mark IV and encoded using H.264 compression can stutter during playback, even on a computer considerably more powerful than an average system, particularly when multiple layers and effects are involved.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, the NeoScene software can convert these difficult-to-edit files into a lower-resolution, losslessly compressed format that requires less processing power. This makes the necessary editing work considerably easier, while the software subsequently processes the frames of the original files based on the edited material.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">A Cost-Effective Solution<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Alex Nemetz and Dred both agree that shooting films with digital cameras offers an exceptionally strong price-to-performance ratio compared with other filmmaking technologies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The increasingly popular digital RED cameras, which can be handled in a manner similar to traditional film cameras, use CMOS sensors comparable in size to the Super 35 film frame. They are capable of recording 4096 \u00d7 2304-pixel frames at speeds of up to 100 frames per second. Renting such a camera costs approximately HUF 100,000\u2013150,000 per day.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Canon EOS 5D Mark II falls short of this performance in both Full HD resolution and recording speed. However, when compared with its price of less than HUF 600,000\u2014equivalent to only four or five days of camera rental\u2014and considering that footage captured at resolutions higher than Full HD would often be down-converted anyway, it becomes an ideal choice for productions where the client has imposed strict budget limitations.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Broad range of compatible lenses and accessories<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The range of compatible lenses and accessories is also extremely broad. Filmmakers are not limited to equipment produced by the camera manufacturer, as products from other companies can also be used. This further expands the creative possibilities while helping to reduce costs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to reports at the time, camera manufacturers themselves were surprised by how quickly their Full HD-capable cameras became popular. The film and music-video industry welcomed these relatively inexpensive solutions, which nevertheless delivered excellent image quality and opened up new possibilities for moving-image production.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">They also made filmmaking accessible to groups and individuals who previously could not afford the high costs involved. The growing number of impressive productions appearing on the Internet demonstrated this trend, with work created both by previously unknown filmmakers and by internationally renowned professionals.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Full HD-capable D-SLR cameras opened up new possibilities for professional filmmaking. Discover how cameras such as the Canon EOS 5D Mark II and EOS 1D Mark IV combined high ISO sensitivity, compact dimensions, interchangeable lenses and significantly lower production costs to transform digital film production.<\/p>\n","protected":false},"author":2,"featured_media":785,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[98],"tags":[108,137,106,136],"class_list":["post-784","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tips","tag-camera","tag-canon","tag-digital","tag-video"],"blocksy_meta":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Professional film shooting with digital camera - Photonet<\/title>\n<meta name=\"description\" content=\"Professional filmmaking with a digital camera: how Full HD D-SLRs transformed film production through high ISO 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