In the last few years, Video technology in cameras have come an incredibly long way. Since the earliest digital cameras, a video mode has been one of the standard settings. When Nikon introduced the D90, it started a revolution with video making an appearance in DSLR’s.

It was going to happen. However, soon after the D90 made its appearance, Canon introduced the EOS 5D Mark II, and the video revolution began…again.

Once upon a time, going on holiday meant taking a camera with enough film to start a small business. Mum or Dad had the SLR; kids were given compact or single use cameras or even the family Polaroid instant print, and Gran was left looking at all the pictures or carrying all the film. Dad would also insist on bringing the video camera. Then there was the re-education of what type of tape was needed: VHS, Mini-8, Super 8, VHS-C (with the adapter), MiniDV or even MicroDrive.

Any of this sound familiar?

Yet now, most people are happy with taking small clips on their phone, or even their compact digital camera. But is there any difference between getting video on a £200 compact camera and a £700 Digital SLR?

The answer is yes.

Yes, the technology has evolved massively, and the fact that DSLR’s can produce video no longer means that exceptional quality is limited to the likes of the BBC or even Hollywood! Camcorders offered similar features to today’s super-zoom or bridge cameras. In fact, there is very little difference beyond that hence why Camcorders are so much of a dead breed (unless you are willing to spend thousands and thousands of pounds).

With Camcorders, there was a sensor that recorded your footage. In Panasonic camcorders, it had three sensors (3MOS or 3CCD). These would then store your footage on to your media – a tape or memory card. You would zoom in and out of your subject and hope that you were stable enough to stop any camera shake. Actually, there is no difference to compact cameras and DSLR’s today.
Most compact cameras have the same sized sensor (if not larger), then most camcorders. On DSLR’s and Compact System Cameras (CSC), the sensor is notably bigger.

So what are the major differences? Well, as camcorders began to compete with compact cameras, there was a crossover in terms of quality. Most bridge/travel cameras offer full HD movie (1920x1080), as well as a minimum 10x optical zoom. It used to be the case that video’s stored on a memory card (either from a camcorder or digital camera) were not that good. Those days are gone. Footage is now of the same quality, if not better, than tape.

Now…some may argue the point that the top of the line stuff is better. This is true, but if you are going in to that field and want to get UHDTV (7680x4320 resolution) quality, then you will happy in spending up to £10,000 for your next camera.

However, when all is said and done, the biggest change in video technology was with the Canon EOS 5D Mark II.

From a retailer’s point of view, this is the only camera that had two launches – the official one, and the one when video production on DSLR took off. It also heralded the arrival of a new type of product – the VDSLR.

The story goes that someone at FOX persuaded the producers to film an entire episode of HOUSE (with Hugh Laurie) on an EOS 5D Mark II using standard EF lenses. The results were stunning. So much so, that the production company began using it to film the rest of the series with the camera.

Then, according to sources, BLACK SWAN was filmed on the EOS 5D Mark II and even the EOS 7D utilising the L-Series lenses. From there, the ball began rolling. The Avengers Assemble, BBC, ITV, SKY…all were using Canon DSLR’s to record movies and TV programs.

However, Canon played a bit of a blinder here. As with all new gadgets, the technology became easier and cheaper to install into lower, entry level models. From the EOS 5D Mark II to the EOS 7D, then EOS 60D, and to the EOS 650D.

But to give you an idea on how good the EOS 5D Mark II was – watch The Avengers Assemble. On DVD, it looks really good – crisp, sharp, clean quality. And no way of knowing when the Canon camera was used. On BlueRay, it looks awesome. But hang on…that’s just watching it at home. This once had to fill a cinema screen with no problems. Yep…no problems. Furthermore, this also filled IMAX screens. THAT’S how good the quality is!

And it didn’t stop there. Sony, Panasonic, Olympus and Nikon have all “upped” their game in terms of adding video to their cameras.

Sony has been synonymous with high end video technology in broadcasting. But now, with the imminent arrival of the A7s, consumers are now given the chance to have a FullFrame camera producing 4K Video. The review are glowing so far and demand is bound to be high.

In fact, we’re already seeing a high demand for the Panasonic Lumix DMC-GH4. A Micro FourThirds sensor camera that also offers 4K movie capture. But let’s turn things on its head a little. The Lumix DMC-FZ1000 is a bridge camera that also offers 4K video on a larger than normal sensor for less that £800.

The Panasonic and Sony cameras I’ve just mentioned are mind-blowing when it comes to “just taking photos”. But test them against your old camcorder and it’s a different game altogether.

Nikon, on the other hand, have been rather quiet with their offerings on movie modes from their leading start.  They were the first company to properly introduce video on a DSLR with the still popular and respected D90. Yes, it has been upgraded to the D7000 and the D7100, but have they had anything to offer in competition to Canon who have pretty much kept the market to themselves?

Well yes, as it happens, they do.

The Nikon D800E and D4 were the first cameras from Nikon to be able to match the quality Canon.  So impressed were some people within the broadcast industry that it became the main stay camera for a number of new local TV stations, in particular London Live. All in house productions were made using the Nikon D800, D800e and D4. But now, Nikon have announced and released the D810. Granted, it doesn’t produce 4K video, but its very, very close to it. And for videographers who have invested in Canon, it is worth looking at.

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No doubt Canon will continue on improving the video in the next range of DSLR’s. They’ve already begun working on and introduce an auto-focus system that works seamlessly with movie modes – STM, with the promise of some exciting launches at Photokina later on in the year.

Video technology revolution is now reaching an exciting stage. Whether you’re an going on holiday or making short art-style movies, Digital SLR with Full HD movies are a genuine option that doesn’t cost the bank. Furthermore, the quality of footage, as explained here are so good, that it would rival some big names production houses.

Be it a Canon EOS 5D Mark III (the replacement to the Mark II), a Nikon D7100, Panasonic Lumix DMC-GH4, Olympus OM-D E-M1, Sony A7s or even the compacts Powershot SX700 or Panasonic TZ60, you can be sure that what you take with you is definitely going to be better than what’s been made before, and most certainly better than shooting movie with your phone.

If you have any further questions about movie technology on DSLR's, then please feel free to call us.