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Single-Lens Reflex Cameras Do Double Duty 1 of 8
While almost all digital compact cameras have offered standard definition (640 by 480 pixels) video recording since they became a consumer-friendly option years ago, technological boffins long protested that it wasn’t possible to include the same feature on a more advanced digital single-lens reflex (SLR) camera—at least not an SLR in the conventional sense.
When Nikon introduced 1280 by 720 high definition (HD) video on its D90 SLR last year, it was the herald for the start of a new era. Once one manufacturer had found a way, it was only a matter of months before others were jumping on the video SLR bandwagon. Nikon’s age-old rival, Canon, followed suit with its higher-end EOS 5D Mark II SLR, which offered 1920 by 1080 resolution—the fabled full HD resolution.
The video recording capability seemed at first like a gimmick (do serious photography enthusiasts—the traditional audience for such cameras—really want to shoot movie clips, too?), but the feature now makes sense with the the growing popularity of HDTV. Also, video on an SLR provides photojournalists and news gatherers with another arrow for their bow. In the age of the Internet, video is fast becoming king.
Of the major camera manufacturers, it’s surprising that Sony, with its rich heritage in camcorders, is the only one without a SLR that records HD video. Sony also doesn’t have the heritage of lenses that manufacturers such as Canon, Nikon, and Pentax do. That’s undoubtedly another advantage of shooting video on a SLR or interchangeable lens camera—the ability to choose from potentially hundreds of lenses with which to get creative. What dedicated HD camcorder, professional or otherwise, can offer such scope?
I tested six different cameras to see how well they perform as HD video cameras. I tested Canon’s EOS Digital Rebel T1i and EOS 5D Mark II, Nikon’s D5000, Olympus’ E-P1, Panasonic’s Lumix DMC-GH1, and Pentax’s K-7. Let’s take a look at what each camera has to offer and how they match up.
Canon EOS Digital Rebel T1i
Canon’s EOS Digital Rebel T1i (known as the EOS 500D in the UK) is the company’s second SLR to offer video recording, the first being the EOS 5D Mark II. The Rebel T1i is also Canon’s most affordable SLR if you want to invest in a Canon system with video recording. The camera is lightweight, portable, and boasts a high-resolution 3-inch LCD with 920,000 dots.
The LCD can be used not just for reviewing its 15.1-megapixel photos but also composition, courtesy of the cameras Live View feature—irritatingly, Live View has to be enabled through the menu system. The Live View feature is obviously a boon for video makers, as is the fact that with the T1i’s EF/EF-S lens mount, there are more than 60 lenses in the EOS system.
For a compact, beginner-friendly SLR, it’s good to see that the T1i’s build is reasonably rugged and that Canon has included a professional level of features. This includes full HD (1920 by 1080 pixels) video with sound, whereas its main rivals in Nikon’s D5000 and D90 have opted for the lesser 1280-by-720. That said, if you want to fit more video on a memory card, there’s the option to shoot at 1280-by-720 or 640-by-480. Interestingly, shooting at the highest resolution will return a frame rate of 20 frames per second (fps), but opting for less resolution bumps up the frame rate to a maximum 30 fps.
The T1i saves video in MOV format using common H.264 compression, which means there are no compatibility issues and playback is smooth on the Mac. Footage is clear and colourful, but the built-in microphone picks up wind noise quite readily when shooting outdoors. Budding moviemakers should also note that the duration of a single clip is limited to a second under 30 minutes, or a file size of 4GB.
Like its competitors, a HDMI (High Definition Multimedia Interface) port is provided for hooking the camera up to a HDTV for playing back footage.
The EOS Digital Rebel T1i is good, all-round, user-friendly option ($899 with an 18-55mm IS lens) if you’re looking to buy into the Canon system.
Canon EOS 5D Mark II
The daddy of HD-video-shooting SLRs to date—in terms of its tank-like weather-resistant build, comprehensive and customizable feature set, and gargantuan price tag—our round up would not be complete without Canon’s semi-professional EOS 5D Mark II. It’s also the only contender here to offer full-frame capture; that is, the size of its CMOS sensor is roughly equivalent to a frame of 35mm film, meaning like-for-like results with attached lenses.
Key specifications include a stills resolution of a whopping 21 megapixels, and a full HD video resolution of 1920 by 1080 pixels at 30 fps. Maximum resolution video looks incredibly crisp when shot using an image stabilized 24 to 105mm EF zoom lens (available as part of a bundle deal). The 5D Mark II includes HDMI output for hooking the camera up to a HDTV set and, like its rivals, the 5D Mark II offers Live View functionality to make the most of the 3-inch, 920,000-dot resolution LCD.
A comfortable grip, well-spaced controls and smooth handling ensure the camera rapidly feels like an extension of the photographer’s hand, though the relative bulk may mean it’s a stretch for those with shorter fingers. It’s slightly irritatingly that, like its implementation of Live View and expanded ISO settings, you have to first enable the shot video function by delving into the menu system. It’s like the company is somewhat perversely hiding one of its best features under the proverbial bushel.
It’s also worth remembering that, while HD-quality movies are a revelation, you have to manually adjust focus as you move through the focal range. The left side of the 5D Mark II’s body features a port for budding film-makers to add an accessory stereo microphone, alongside the usual input/outputs.
Ultimately, the 5D Mark II is an excellent workhorse for photojournalists operating in the multimedia world, delivering HD quality movies at the press of a button. The rest of us may conclude that, if only in terms of expense, our needs may be better served by another SLR.
The 5D Mark II is $2699 (body only).
Nikon D5000
A well-constructed camera targeted at hobbyists, Nikon’s 12.3 megapixel D5000 does direct battle with Canon’s EOS Digital Rebel T1i and is Nikon’s least expensive SLR that can record HD video. Video is recorded at 1280 by 720 pixels at a frame rate of 24 fps—in truth more “HD ready” than full HDAVI file format. The D5000 saves videos as AVI files using Motion JPEG.
Movies are recorded by selecting the camera’s Live View mode via a dedicated button (marked Lv) at the rear. This flips the camera’s mirror mechanism up and out of the way so the view via the lens is displayed in the camera’s 2.7-inch, 230,000-dot resolution screen, rather than in the smaller optical viewfinder. The image on screen is cropped top and bottom to fit a 16:9 ratio, giving a better idea of what the footage will look like when watched back on your HDTV or computer.
It’s worth noting that the D5000’s LCD screen can be rotated 90 degrees in one direction and 180 degrees in the other to provide greater flexibility when it comes to framing subjects. This allows you to shoot over the heads of a crowd or low to the ground, when getting an eye level with the viewfinder would be otherwise impossible. It can also be turned to face inwards to the camera body, providing protection when being transported.
In terms of true user-friendliness, a dedicated movie mode or red record button would have been handy for first-time users. Instead, recording done via a press of the unassuming OK button at the center of the D5000’s multi selector pad at the rear of the camera. Maximum movie length is five minutes at maximum resolution, or 20 minutes for 640-by-424 or 320-by-216 at 3:2 ratio. Such adjustments are made through the main menu folders.
As it is, the D5000’s video clips have a smooth, almost filmic quality to them, a better lens lifting them above what we’ve previously seen delivered by point and shoot compacts. For its price this Nikon looks like a very sensible option.
The D5000 is available with a 18-55mm lens ($800) or body only ($680).
Olympus E-P1
Olympus doesn’t presently offer a conventional SLR with HD video capability, but the company does offer what is technically classified as an ‘interchangeable lens camera’ with the E-P1. The internal mirror mechanism found in SLRs has been junked to allow lens and sensor to move closer together. Therefore, in theory, smaller optics can be used to achieve the same or similar results to rival SLRs based on previously existing 35mm film conventions.
Olympus’ innovative Micro Four Thirds-based E-P1 is currently the lightest, most compact solution for anyone looking to shoot full HD footage with the quality expected from a SLR. It offers 1280 by 720 video capture with the advantage of accompanying stereo sound.
What other edge does the E-P1 have over HD-enabled SLRs? Perhaps the most interesting feature is the inclusion of six fun art filter modes that can be applied just as easity to smooth and sharp HD video as to stills photography. The creative filter options are Grainy Film, Light Tone, Pale and Light, Pin-Hole, Pop Art, and Soft Focus. As well as shooting in standard 4:3 aspect ratio, you also have a choice of 16:9 widescreen, 6:6 to ape a medium format camera, or 3:2 equivalent to 35mm film.
It’s best to use any effects in moderation and to use a bit of discernment. Pale and Light predictably renders captures wishy-washy, and Pop Art makes everything look like it’s been created in children’s poster paint. However, I enjoyed the attention-directing device of Pin-Hole, while Grainy Film can add an artsy moodiness, which works most dramatically when mixing light and shade. Without use of any filters at all, the E-P1 delivers a refreshingly naturalistic interpretation of scene and subject, therefore good results can be achieved with minimal fuss.
While the E-P1 is expensive ($800) compared to a standard point-and-shoot camera, it's much more capable than a point-and-shoot and is more like a SLR.
Panasonic Lumix DMC-GH1
Swathed in tactile soft rubber and available in red, black, or champagne, Panasonic’s second Micro Four Thirds-based camera, the Lumix DMC-GH1 is also its first to feature video capture. The DMC-GH1 feels fractionally chunkier than its sibling, the Lumix DMC-G1; size-wise it sits between the Olympus E-P1 and a standard APS-C sized SLR.
To make its 1920-by-1080, 24-fps video-recording capability all the more enticing, there’s a stereo microphone sunk into the hood for the pop-up flash. If you're looking for more professional audio results, the DMC-GH1 has the option to add an external microphone. Depending on intended end use for the video clips, you can choose between shooting using AVCHD compression (recommended for playing back on HDTVs) or Motion JPEG for computer or Internet use. That’s a nice touch.
The DMC-GH1 comes bundled with a 10X optical zoom equivalent lens that silently adjusts, so operational noise isn’t picked up when shooting video with sound. The rear LCD can also be angled for a greater array of shot compositions. While that’s another plus point, the price you’ll have to pay for the privilege of the fast, accurate optic with a broad focal range of 14 to 140mm (28 to 28mm equivalent in 35mm film camera terms) may prompt a pause for thought.
The DMC-GH1 features an intelligent auto mode whereby the camera recognizes common scenes and subjects and automatically adjusts settings to deliver optimal results. And manual settings are accessible for video as well as stills. With a dedicated thumb button for shooting movies, the video feature on the Lumix DMC-GH1 feels less like an add-on and more an integral part.
At $1500 (which includes a decent lens), that’s an eye-watering outlay for the advanced amateur, especially when you consider that existing SLR owners will have to opt for a whole new lens system if buying into the idea of Panasonic’s Micro Four Thirds G-series cameras. Panasonic might argue that the provided set up will be all most users will ever need.
Pentax K-7
Its model name may be a couple of numerals short of a Doctor Who assistant, but the solidly-built K-7—Pentax’s first to offer high-definition video recording—is certainly no pup. Delivering 14.6 megapixels from an APS-C sized CMOS sensor and weather-resistant sealing, it’s a camera for the semi-professional. Quirkily, the top HD resolution is 1536 by 1024 pixels at 30 fps, rather than the standard 1920-by-1080 or 1280-by-720.
Upon power up, the K-7 displays essential shooting information in landscape format. Tilt the camera to shoot portrait fashion and the info will rotate for easy viewing. In either case it’s comfortable when gripped in the palm.
Shooting HD video on the K-7 is simplicity itself. Select the relevant movie icon on the 11-option mode dial, and the rear 3-inch, 920,000-dot LCD immediately switches to Live View. Then simply press the shutter-release button to begin and end recording. Using Live View not only aids composition from trickier angles and provides a larger means of checking critical focus, but also avoids your nose butting up against the screen when using the optical viewfinder.
Up to 25 minutes of HD video and mono sound can be captured in a single take, with an external stereo microphone available as an optional extra for more serious users. As an aid to creativity, its picture style options can be accessed both in video and stills modes, affording clips in black and white, vibrant or muted tones. A 16-strong range of in-camera effects means that it rivals Olympus’ E-P1 for creativity.
The K-7’s HD video footage looks good and I didn’t have any compatibility issues replaying clips from the K-7 in QuickTime on a Mac. The quality was smooth and jerk-free; plus, of course, you’re getting the creative advantage of access to a wide range of K- and KAF-mount lenses for shooting video. You can hook the camera up to a HDTV too; there’s an HDMI port provided on the side, although no connecting cable was provided with our review unit.
The $1200 body-only price of the K-7 may cause you to balk, but it’s a matter of perception. Viewed alone, the K-7 gives a solid showing.
And Then There Was One
While I wouldn’t claim that HD video is reason enough to choose any one of these models, as an added extra it’s well worth having, and none of the cameras presented here have serious failings in that department, or indeed any other. When examined on their individual merits each puts up a strong case for purchase. However, if you already own lenses for a particular system that will undoubtedly exert a strong additional influence over your final decision.
With some of the contenders pretty much at level pegging, which is worth singling out for special mention? Marry Canon’s EOS 5D Mark II to its kit lens and, with a massive stills resolution and HD movies for your outlay, this is a camera that has almost no faults and which offers almost limitless creative possibilities. But it’s only worth serious consideration if your wallet can take it.
Panansonic’s equally innovative Lumix DMC-GH1 impressed us with its smooth, sharply detailed performance against SLRs from Canon, Nikon and Pentax. However, its high asking price leaves me wondering exactly whom it’s aimed at, and makes its direct competitors a better bet in terms of value and on-going system support.
Viewed as Pentax’s most professional SLR to date, Pentax’s K-7 is a bargain in comparison with the 5D Mark II and offers a more conventional alternative to the similarly-priced DMC-GH1. However, if you don’t need a semi-professional level of specification, the E-P1, D5000 or EOS Digital Rebel T1i are more affordable.
If you’re looking for a step up in image quality from a point-and-shoot as well as full HD video with stereo sound, the E-P1 from Olympus comes highly recommended. The fact that it omits flash and a viewfinder is a little disappointing, though.
In the end with this group of cameras, it eventually comes down to Canon’s EOS Digital Rebel T1i and Nikon’s D5000. Theoretically, the T1i should nail it by virtue of it 1920-by-1080 support over Nikon’s 1280-by-720, but I prefer the film-like quality of the D5000’s clips.
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