Posted by Don George on December 4, 2011 at 11:19 AM
Next year my wife and I will be celebrating our 25th year in the photography business. We have been managing the business down for the past several years and I am finding that I need a diversion. I am considering changing to Video not as a business but for my own pleasure.
I have no experience with Video but here are my considerations.
1. Keeping my DSLR's and lenses such as my 500 f/4 and using them.
2. Selling my 500 f/4 and other wildlife lenses and buying a mid type
video recorder and editing S/W and hanging on to my scenic DSLR
equipment for still shooting.
I would probably use the Video mostly for wildlife shooting.
I guess I'll stop rambling on. Just wondering if there's anyone out there who has or is going through a similar thought process.
Posted by Paul DeCesare on December 4, 2011 at 12:35 PM
Don, that's the $64,000 question and I have a ton of info to tell you about to help with your decision. I won't be able to write it all today, but I'll post back tomorrow. In short, when video hit DSLRs in 2008, the game changed forever. To be able to shoot video through a 500 f/4 will be mind blowing. But there is a cost involved on the post production side, and your intended output has a large part in your decision.
I'll write back tomorrow!
Paul
Posted by Paul DeCesare on December 7, 2011 at 6:28 PM
Hi Don,
I admit I went a bit hog wild when I saw the first footage from the 5D2 in September 2008, and I did start on a path of researching what video is all about and understanding the terminology. But before I bore you with that, the key point to make is this: until you spend near $100,000 on a Red One or similar HD video cam, you won't image quality that's even remotely close to what we're used to as photographers. Tack on another $65,000 if you want a lens for that Red One that can do 500mm like what you have. If you try to video with a cheap $8,000 VideoCam like the Sony EX-3 and you end up in a low light situation, you'll be quite disappointed. The main reason: look at the graphic above. The whole graphic represents a 5D Mark II sensor. Now look at the Sony's ½" sensor in the bottom left corner, which represents most $8K-$10K cams. Seriously, that's the size of the sensor. There are three, one for each RGB channel, but there is no light gathering capability. Also with a sensor that tiny, depth of field is always huge, even at f2.8 the whole room is in focus. Now that's not terrible for sme landscape work, but because narrow depth of field is lacking from these VideoCams and the low light capability is terrible, they have been totaly ignored by cinema shooters. UNTIL the 5D Mark II came along which could shoot gorgeous HD video with three candles in the room, and f2.8 LOOKS like f2.8... that is why Hollywood has gone ballistic for Canon DSLR video and is being used in feature films today (half of Iron Man was shot on a 5D2). Ths is not to start any kind of gear war, but Nikon is WAY behind in the video realm, there's no full frame sensor camera that shoots 1080p video in their arsenal. BUT, many filmmakers are fitting the Nikon 14-24's to the 5D2's in order to get true wide angle, because of Canon's lousy ultra wide zoom, the 16-35mm. I own that lens and love it for stills because I can correct the cruddy edges, but in video that takes a lot of extra work.
SO, I highly highly suggest you do the thing you mentioned, and prepare for DSLR video. If you slap that 500mm f/4 onto a 7D or 5D2 or a 1D Mark IV you will get gorgeous footage. I'm going to post a few more replies to this thread because I can't write everything in one shot, but it is very important that I tell you what to expect by getting into DSLR video as there are some great things and some real gotchas and you need to know this going in.
Don't worry, I know you're not intending on opening a production studio, you just want to get some video footage and see how that goes, and dabble and have some fun. I'll make sure I write back with the minimum stuff you need to know. Capturing the wildlife footage is the easier part although there are a few things to know regarding the tripod head you use. It's dealing with the footage afterwards both from a computer and software side of things. Plus I'll tell you what's NOT good about DSLR video and how to get around the limitations. This will be fun, I've been wanting to post an article about DSLR video for nature photographers, I guess this will be the rough draft.
I'll be back!
Paul
Posted by Don George on December 8, 2011 at 11:20 AM
Paul, Thank you very much for taking the time to respond. You have given me a lot to think about and I can't wait for the next update. This is exactly what I've been looking for. Its a big decision for me because once I sold my 500 and other lenses I wouldn't be able to purchase them again without a lot of sacrifice. This is the type of information that makes NPN well worth its value.
Posted by Paul DeCesare on December 30, 2011 at 12:27 AM
Don, sorry for the delay, December with work and Christmas got really busy, but I will get you that last post with the Pros & Cons very soon!
I can come at it from the business side Don. We're on similar courses, right down to a 25 year photo business.
We're getting lots of "pressure" to go into video along with the still that has paid all the bills. More and more commercial and industrial clients want it, either along with the still work or instead. Initially we simply directed them to videographers we trusted, but as the volume mounted we began subbing to the videographers.
But here's where the pivot developed: Whether due to price limits on what we could charge (i.e., low enough that if we took a "cut" the videographer wasn't paid a competitive rate) or seasonally slow still work and the need to generate more income for ourselves in those periods, we really need to start doing it ourselves and quit subbing.
But here's the nub from a purely business standpoint: While consumer grade gear likely meets most of the needs, appearing on a job with that grade of gear does your image no good. It would be like showing up on a high-dollar still shoot with a pocket camera. While it certainly might take credible images that met the job specs, you'd look like an idiot and clients would begin to wonder why they bothered to hire someone to use the same gear they could buy for less than they pay you.
I've been a tech or location scout for a number of visiting videography companies and had a protracted look at their gear and procedures. Yeah, they're gear is getting smaller and potentially cheaper. But it's still something amateur videographers see only in magazine ads.
Long and short, if your video gear will likely creep into your business, consider your image while using it. You might save money by buying lesser gear or using a DSLR in your learning phase, but sooner rather than later you're going to have to reinvest. "Image" is important in sales as you know, and beware of hurting yourself.
Posted by Don George on January 2, 2012 at 8:26 PM
Thanks Hank. I agree with your comments. I have to make up my mind if I'm going to shoot video on a professional level or for my own enjoyment. If I'm going to shoot professional level video with the hopes of marketing it then I'll have to purchase professional level equipment. Your right about image it plays a large part especially in the marketing of your product.
Posted by Don George on January 2, 2012 at 8:27 PM
Discussion
7 repliesI have no experience with Video but here are my considerations.
1. Keeping my DSLR's and lenses such as my 500 f/4 and using them.
2. Selling my 500 f/4 and other wildlife lenses and buying a mid type
video recorder and editing S/W and hanging on to my scenic DSLR
equipment for still shooting.
I would probably use the Video mostly for wildlife shooting.
I guess I'll stop rambling on. Just wondering if there's anyone out there who has or is going through a similar thought process.
I'll write back tomorrow!
Paul
I admit I went a bit hog wild when I saw the first footage from the 5D2 in September 2008, and I did start on a path of researching what video is all about and understanding the terminology. But before I bore you with that, the key point to make is this: until you spend near $100,000 on a Red One or similar HD video cam, you won't image quality that's even remotely close to what we're used to as photographers. Tack on another $65,000 if you want a lens for that Red One that can do 500mm like what you have. If you try to video with a cheap $8,000 VideoCam like the Sony EX-3 and you end up in a low light situation, you'll be quite disappointed. The main reason: look at the graphic above. The whole graphic represents a 5D Mark II sensor. Now look at the Sony's ½" sensor in the bottom left corner, which represents most $8K-$10K cams. Seriously, that's the size of the sensor. There are three, one for each RGB channel, but there is no light gathering capability. Also with a sensor that tiny, depth of field is always huge, even at f2.8 the whole room is in focus. Now that's not terrible for sme landscape work, but because narrow depth of field is lacking from these VideoCams and the low light capability is terrible, they have been totaly ignored by cinema shooters. UNTIL the 5D Mark II came along which could shoot gorgeous HD video with three candles in the room, and f2.8 LOOKS like f2.8... that is why Hollywood has gone ballistic for Canon DSLR video and is being used in feature films today (half of Iron Man was shot on a 5D2). Ths is not to start any kind of gear war, but Nikon is WAY behind in the video realm, there's no full frame sensor camera that shoots 1080p video in their arsenal. BUT, many filmmakers are fitting the Nikon 14-24's to the 5D2's in order to get true wide angle, because of Canon's lousy ultra wide zoom, the 16-35mm. I own that lens and love it for stills because I can correct the cruddy edges, but in video that takes a lot of extra work.
SO, I highly highly suggest you do the thing you mentioned, and prepare for DSLR video. If you slap that 500mm f/4 onto a 7D or 5D2 or a 1D Mark IV you will get gorgeous footage. I'm going to post a few more replies to this thread because I can't write everything in one shot, but it is very important that I tell you what to expect by getting into DSLR video as there are some great things and some real gotchas and you need to know this going in.
Don't worry, I know you're not intending on opening a production studio, you just want to get some video footage and see how that goes, and dabble and have some fun. I'll make sure I write back with the minimum stuff you need to know. Capturing the wildlife footage is the easier part although there are a few things to know regarding the tripod head you use. It's dealing with the footage afterwards both from a computer and software side of things. Plus I'll tell you what's NOT good about DSLR video and how to get around the limitations. This will be fun, I've been wanting to post an article about DSLR video for nature photographers, I guess this will be the rough draft.
I'll be back!
Paul
We're getting lots of "pressure" to go into video along with the still that has paid all the bills. More and more commercial and industrial clients want it, either along with the still work or instead. Initially we simply directed them to videographers we trusted, but as the volume mounted we began subbing to the videographers.
But here's where the pivot developed: Whether due to price limits on what we could charge (i.e., low enough that if we took a "cut" the videographer wasn't paid a competitive rate) or seasonally slow still work and the need to generate more income for ourselves in those periods, we really need to start doing it ourselves and quit subbing.
But here's the nub from a purely business standpoint: While consumer grade gear likely meets most of the needs, appearing on a job with that grade of gear does your image no good. It would be like showing up on a high-dollar still shoot with a pocket camera. While it certainly might take credible images that met the job specs, you'd look like an idiot and clients would begin to wonder why they bothered to hire someone to use the same gear they could buy for less than they pay you.
I've been a tech or location scout for a number of visiting videography companies and had a protracted look at their gear and procedures. Yeah, they're gear is getting smaller and potentially cheaper. But it's still something amateur videographers see only in magazine ads.
Long and short, if your video gear will likely creep into your business, consider your image while using it. You might save money by buying lesser gear or using a DSLR in your learning phase, but sooner rather than later you're going to have to reinvest. "Image" is important in sales as you know, and beware of hurting yourself.