Blog

Does this powerful DSLR have what it takes to compete for video shooters as well as stills? We dig into its feature set to take a closer look.

As the world of visual content chops and changes, many photographers are finding themselves wanting to diversify into video, to be able to offer their clients either or both services depending on their needs. As such, many are asking for a decent hybrid camera, a reliable stills workhorse that can also pick up the slack in video where needed.

Last year, Nikon responded to these demands with the magnificent D850 — a true hybrid camera that brings all the stills acumen you’d come to expect from Nikon and adds in some seriously impressive video functionality to boot.

If you’re thinking about picking up a hybrid camera to shoot stills and video, the Nikon D850 is a great place to start looking. In this article, we’ll break down its video capabilities in a little more detail to help you decide if it’s the right camera for you…

What does it shoot?

One of the headline features of the Nikon D850 is its ability to shoot 4K UHD video using the full width of its full-frame sensor — by contrast the Canon EOS 5D Mark IV, its realistic closest rival, shoots 4K video with a hefty 1.74x crop. The D850 uses intelligent pixel binning to get 4K (at 3840 x 2160) from the full width of its 8.2K 45MP sensor, and is currently the only DSLR model to shoot such video. It goes to a maximum frame rate of 30 when shooting 4K; if you’re shooting at Full HD 1080p, you can go to 60 or even 120fps for super slow-motion footage that’s still at high quality (though with a decent crop). Movies are shot in MOV or MP4 formats.

When capturing 4K, the D850 uses a bitrate of 144Mbps. This is significantly lower than the Canon 5D Mark IV, which uses a bitrate of 500Mbps. What this means is that while the D850’s footage is a little lower in quality, it eats up a lot less room on the SD card. You can record video continuously for up to 29 minutes and 59 seconds. There’s also the option to shoot 4K and 8K timelapses, although it’s worth being aware that the 8K timelapses will not compile in-camera, and will need to be assembled in post-production, and if so desired there is an exposure-smoothing function for timelapses.

The Nikon D850 doesn’t have Log profiles like its Canon and Sony rivals [link to explaining C-Log blog], however it does have a Flat Picture Control setting that’s intended to have the same effect — decrease contrast to gather as much information as possible to make the video suited for colour grading. It also has a clean HDMI output at 4:2:2 8-bit, and you can use this to record footage to an external recorder as well as the internal SD card simultaneously.

Body/controls

As you’d expect from a pro DSLR, the D850 is built like a tank, but it also has plenty of controls and physical features that should prove useful for video shooters. The tilting LCD screen on the rear is a touch-sensitive model, which adds a great deal to the D850’s operability. You can use the touchscreen to access all the main video settings — what’s more, there’s also the nice touch of keeping video and stills settings separate, meaning you can tweak your preferred defaults for one without affecting the other. This is especially useful for hybrid shooters.

The DSLR ergonomics of the Nikon D850 arguably give it an edge over its Sony rivals, with a good chunky handgrip that makes it easy to use. Dual card slots are also welcome, allowing you to keep shooting and shooting.

There are two things that video shooters often ask for that end up neglected on DSLRs and CSCs — sockets for both an external microphone and monitoring headphones. Thankfully, the D850 includes both.

Video features

Nikon has included plenty of useful features for video shooters in the D850, though it’s important to be aware of how and when they can be used.

Focus peaking, highlighting subjects that are currently in focus, is included for video shooting on the Nikon D850, a rarity for DSLRs and a welcome feature here. While you may or may not have found much use for it while shooting stills, in the more manual focus-oriented world of video, it’s borderline essential. It can be set to three intensity levels, and you also have the option of changing the colour if so desired. However, this feature is only available for shooting video in 1080p, not 4K, and it also cannot be used at the same time as digital image stabilisation, or when shooting slow-motion.

The D850 also has a highlight display mode that uses zebra stripes to indicate blown-out highlights, and electronic vibration reduction technology to control the effects of camera shake. Again, both of these features are only usable for Full HD recording, not 4K. The D850 also has the option of using its contrast-detect autofocus system for video, however, early reports indicate that this can be a little erratic and unreliable. In most situations, you’ll probably be best off using manual focus, with focus peaking for fine-tuning, and if this isn’t something you’re comfortable doing, you may want to look at Canon or Sony.

Final thoughts

The hybrid photographer/videographer was quite clearly on the Nikon engineers’ minds in the making of the D850, and if this describes what you are, or what you want to be, then it’s a superb option that’s well worth considering. Some of the limited video functionality, such as various features being unavailable in 4K, means that dedicated video shooters may want to look elsewhere, but if you’re going to be a jack of both trades, then the fact that the arguable best pro stills DSLR on the market now comes with professional-grade video features makes the D850 a very tempting prospect indeed.

If you’re looking at picking up a camera to shoot video as well as stills then the full-frame mirrorless Sony Alpha 7 series contains several fantastic options, and it can be difficult to know which should earn your buy.

For this blog, we’re going to take an in-depth look at two of these cameras — the Sony A7S II vs. Sony A7 III. Both have their advantages and disadvantages, and both will see you more than satisfied with your purchase should you decide to take the plunge. This isn’t about ascertaining which is the “better” camera, but simply a means by which you can assess which model is right for you.

Is everything clear? Then let’s get cracking…

Sony A7S II

It’s not too much of a stretch to call the first Sony A7S revolutionary. With its compact form factor, full-frame sensor, its whopping ISO ceiling of 409,600 that allowed it to effectively turn night into day, and the ability to record 4K video to boot, this seriously impressive machine started tempting videographers in droves.

One of the annoyances with the original A7S was that it wasn’t possible to record 4K video internally — doing so required an external recorder. The Sony A7S II fixes this as its first priority — it records glorious 4K 4:2:0 8-bit video (in XAVC S format, with no pixel binning) internally.

It can manage 4K video 8-bit 4:2:2 colour depth if hooked up to an external recorder. It also brings to the table some seriously impressive slow-mo, with the capacity to record Full HD video at 120fps at 100Mbps.

What else is there for videographers? Glad you asked. That delightful high ISO ceiling of 409,600 is present and correct, making the A7S II a formidable low-light beast. While results at these high ISO settings are not what you’d call high-quality, results throughout the range are impressive, and it’s a good option to have in seriously challenging lighting conditions.

There’s an internal 5-axis image stabilisation system that works with video too. Sony also promised better autofocus for video with this model, up to twice as fast as the previous model, although there’s no phase-detect autofocus system and the camera relies entirely on a contrast-detect system.

Videographers also have access to S-Log2 and S-Log3, Gamma settings that create a flat picture profile with maximum dynamic range. These are designed to capture as much detail as possible to give you the maximum amount to work with when colour grading in the edit (See our blog on Canon’s version, C-Log, for a more detailed explanation on how this sort of thing works).

According to Sony, S-Log can provide increases in dynamic range as high as 1300%. The camera also provides a useful Gamma Display Assist mode that allows you to view the scene with a normal contrast even while shooting in the flat profile. Elsewhere you’ve got plenty of other useful video features: Sony Picture Profiles, focus peaking, zebra patterning and a histogram.

In the centre of all this is a 12.2MP Exmor CMOS sensor with improved noise reduction algorithms, making use of its lower pixel count to provide larger photosites that help to further control noise.

Sony A7S II key advantages

– Thoroughly optimised for video

– Amazing low-light performance and noise control

Sony A7 III

As you may be able to deduce from its number, the Sony A7 III is a more recent camera than the A7S II, and accordingly it inherits features from recent star cameras like the Sony A9. While many cameras in the Sony Alpha range are quite specialised, the A7 series have typically been more like all-rounders. Accordingly, the A7 III is a balanced camera, a strong stills shooter and a capable video option.

It comes fully able to shoot 4K video using the full width of its sensor, the S-Log gamma profiles and the ability to shoot Full HD video at 120fps. Resolution is higher than that of the A7S II thanks to the 24.2MP back-illuminated sensor. This means a better high-resolution image and quality for photographers, at the cost of less noise control. Speaking of which, the A7 III has a maximum ISO ceiling of 204,800, not quite reaching the heights of the A7S II.

The A7 III and the A7S II full-frame cameras both use the same electronic viewfinder (OLED 2,360k dots, 0.78x magnification). However the A7 III benefits from its later arrival in the form of the amazing AF system inherited from the A9, with 693 phase-detection points. It also features the same 5-axis stabilisation system as the other camera, with a slight bump in performance. It has a rear LCD screen that is a little lower than that of the A7S II, but benefits from touch functionality. Even battery life has been improved — the A7 III will record for a maximum of 125 minutes; the A7S II for up to about 60.

Sony A7 III key advantages

– Newer camera with more features

– Higher resolution

– Better battery life

Conclusion

At the end of the day, it’s about your workflow balance, and what shooting situations you’ll find yourself in. If you’re going to be shooting mostly stills and dabbling in video, the Sony A7 III is the best buy. If your balance is likely to tip the other way and you have to choose which Sony is for video then the A7S II is the better choice given its video capabilities.

The fact that the A7 III is a newer camera also means that it benefits from technological and performance improvements. Though not in any danger of topping the impressive low-light performance of the A7S II, which is incredibly tough to argue with. There’s a reason it has been used for large-scale professional productions like the BBC’s Blue Planet.  

The important point to remember, however, is that whichever of these cameras you choose, you’re getting an excellent machine. Happy shooting!

As more and more photographers look to add video to the toolkit they offer their clients, you may have been thinking it’s time to get you a camera that can do both — shoot beautiful stills and gorgeous video.

Many manufacturers have stepped up to fill this niche, not least among which is Canon, who have produced plenty of muscly DSLRs with serious stills and video capabilities. We’re going to be looking at two of those today to give you an idea of which one might be the better buy for your needs — the Canon EOS 5D Mark IV, latest iteration in the series that kickstarted DSLR video, and the Canon EOS-1D X Mark II, the firm’s flagship workhorse camera for the pro photographer.

Let’s get started…

Common features

The first thing we should deal with is that these are two pro-spec DSLRs from the same manufacturer, and as such they share in common many features that will benefit the videographer. So let’s tick these off.

Both the Canon EOS 5D Mark IV and the Canon EOS-1D X Mark II use a full-frame sensor, meaning you won’t run into any of the problems that plague small-sensor cameras, such as high noise or poor low-light performance. While the sensors’ resolutions aren’t the same (more on that in a moment), their sizes at least are identical.

Both the 5D IV and the 1D X II can shoot 4K video and super-slow motion 120fps video, though there are differences in their footage in both cases, which we’ll come on to. The cameras both carry dual card slots — useful both for long days shooting and for an extra layer of backup redundancy — and both have jacks for external microphones and headphones. You’ll also find external HDMI outs on both cameras.

Both cameras also have capable autofocus thanks to on-sensor phase detections, as well as touch-sensitive controls on their rear LCD screens.

Of course, there are a few things worth mentioning that both cameras lack as well. Neither option will give you in-body image stabilisation, nor a tiltable LCD screen.

Build and handling

Though the cameras share DSLR-style build and handling, they are significantly different in a number of ways, the most glaring of which is visually obvious at a glance. The 1D X II is significantly larger and heavier than the 5D IV, weighing 1530g compared to 830g, and measuring 168mm in height compared to 116mm. Both cameras are pretty heavy and bulky, but the 5D Mark IV has an edge in being significantly lighter.

Part of this heavier build of the larger camera is the fact that it can take an absolute kicking — the 1D X II is designed as a workhorse camera, able to be dropped, scuffed and used in bad weather without compromising its operability. The 5D Mark IV is fairly rugged too, but the 1D X II has the edge in toughness.

There’s more as well — if you want to stream your footage quickly, you’ll really need Wi-Fi connectivity, which the EOS 5D Mark IV has, but the EOS 1D X notably lacks. This can be corrected with an accessory, however.

Footage

This is all well and good, you might think, but what about the actual video? What do these things actually shoot.

Well, as we mentioned earlier, there are similarities and differences here. Both the 5D Mark IV and the 1D X Mark II shoot 4K video, however the 1D X II does so at a higher maximum frame rate of 60p, compared to 30p on the 5D IV. The 4K on the 1D X II is also captured at a more favourable crop factor of 1.3x, compared to a slightly painful 1.75x on the 5D IV. The 5D IV benefits, however, from a 30.4MP sensor, compared to 20.2MP on the 1D X Mark II, and the footage it produces is appropriately lovely.

As we mentioned earlier, both cameras can shoot super-slow motion video at 120fps, however, the 1D X Mark II can do this at 1080p Full HD resolution, while users of the 5D Mark IV have to make do with it at a slightly disappointing 720p.

However, before you go thinking the 1D X runs away with it, there’s one additional important difference to note about these two cameras, which may help you make up your mind either way. Canon offers a flat colour profile specifically optimised for shooting video called Canon Log Gamma, or more commonly C-Log. This is a profile designed to deliver as flat an image as possible in order to retain maximum dynamic range and provide the maximum options for colour grading in post-production. Currently, this option is only available as an optional upgrade for the EOS 5D Mark IV, and not the EOS-1D X Mark II. You can read more about C-Log in our close-up article to better assess whether or not this is a deal-breaker for you. https://www.fixationuk.com/close-up-c-log-on-the-eos-5d-mk-iv/

Conclusion

If you’re a run-and-gun photographer looking to add video into the mix, who isn’t likely to bother doing much grading of the footage in post-production, but might want full use of cool action-oriented features like super-slow motion, go with the Canon EOS 1D X Mark II. Lots of the advantages it confers for stills photographers transfer well to video, and it will perform just as reliably for your video work as it will for your stills.

If you need more control over your final video, if you’re going to take the time to grade it and thus need every bit of dynamic range you can get — if perhaps you’re going to spend more time in indoor environments, or in situations where the weight of your gear is an issue, go with the 5D Mark IV. It does what it does efficiently and well, and you’ll find its footage a pleasure to work with.

Want to use a mirrorless camera for filmmaking? We provide some advice and our top picks.

There’s a case to be made that if you want to see where the real innovation in photography is happening right now, you should look to mirrorless cameras, and the same can be argued for video shooting. In a relatively short space of time, mirrorless cameras have gone from cheap point-and-shoot junk to serious players threatening to overtake the DSLR heavy hitters.

Mirrorless cameras have a great deal going for them, as we shall see. They’re small, light, often come with great lens options and are increasingly packed with video-specific features and functionality. If you shoot video on a DSLR-sized rig, it may be time to start thinking about making the jump to mirrorless. However, there’s a lot to consider, and not all of it is positive — like anything, mirrorless cameras come with their advantages and disadvantages. In this blog, we’re going to sort through a few of those for you, before recommending some of our favourite mirrorless models for video shooters.

One thing worth mentioning, before we start, is that the term ‘mirrorless camera’ encompasses a huge number of makes and models, many of which are radically different from one another. We will also be predominantly comparing shooting video on mirrorless cameras with shooting video on DSLRs, as the two have broadly similar price points and tend to be used by similar kinds of productions.

Everything clear? Then let’s get started.

Mirrorless for video — Pros and Cons

Pro: Light and portable

This is one of the main advantages people talk about when they talk about mirrorless cameras versus DSLRs — the simple fact that mirrorless cameras and lenses tend to be a lot smaller and lighter. You can get 4K video out of tiny bodies like Panasonic’s smaller Lumix G cameras.

Con: Sensors often smaller

Worth mentioning again — this is a generalisation. Many mirrorless come with full-frame sensors, notably Sony’s Alpha 7 models, and some even larger, such as Fujifilm’s medium format GFX-50S. However, quite a few of the most lauded and video-friendly mirrorless cameras such as the Panasonic Lumix GH5 are part of the Micro Four Thirds system, and thus use MIcro Four Thirds and Four Thirds lenses. The mirrorless Fujifilm X cameras, while stunning in many ways, also use sensors no larger than APS-C. This means the cameras can struggle to perform in low-light, producing noisier images than their large-sensor counterparts.

Pro: Electronic viewfinders

DSLR cameras use optical viewfinders. While many stills photographers prefer these to their electronic counterparts, the fact that a DSLR needs to keep its mirror continuously locked up when shooting video knocks its optical viewfinder out of commission. The electronic viewfinders on mirrorless cameras suffer no such difficulties and can be freely used while shooting video.

Pro: Choice of model

The sheer weight of options when it comes to mirrorless cameras is truly staggering. Even if we take just one brand — Panasonic — as an example, we can see the difference between the rugged, filmmaker-focused GH5 and the diminutive, pocketable GX800, both of which are capable of shooting 4K video. You can pick up the low-light monster that is the Sony A7S, or the polished all-rounders made by Panasonic. A great deal of choice indeed!

Pro: Lens adaptability

The short flange-focal distance of mirrorless cameras compared to DSLRs means that it’s much easier to adapt lenses to fit to them. This means that mirrorless users not only have access to the huge mirrorless lens ranges such as Micro Four Thirds, but can also expand to borrow optics from elsewhere much more easily than DSLRs.

Con: Fewer accessories than DSLRs

There are plenty of accessories available that will fit mirrorless cameras, however, in general, many photographic accessories are designed for DSLRs and their counterpart lenses — especially battery grips, filters, etc. The situation is slowly changing, with more bespoke accessories arriving for the mirrorless scene, but for now, DSLRs have the edge in this department.

Con: Smaller can mean less rugged

One of the nice things about chunky DSLRs like the Nikon D850 is that they can take a decent pounding and are well-equipped to survive in difficult weather conditions. Mirrorless cameras tend to be a little more fragile, and depending on what model you pick up, you will likely have to be a little more careful with it than you might with a DSLR.

Which are the best mirrorless cameras for filmmakers?

If you think a mirrorless might be what your setup needs, then congratulations! You’re now onto the most difficult stage of the process — deciding what camera suits your needs. As we mentioned earlier, one of the best things about mirrorless is the sheer wealth of choice on offer, however, this can make things difficult and overwhelming when it comes to selecting a camera.

To help get you started, we’ve selected five of our favourite mirrorless cameras available for filmmakers right now. We’ve based our criteria on a number of factors, including price, so these aren’t necessarily the most powerful or highly specced, however, we think any and all of them will allow you to produce fantastic videos.

Panasonic Lumix GH5

Right now, the Panasonic Lumix GH5 makes a convincing case for itself as the best mirrorless camera for video that money can buy. It’s able to shoot 4K video at 60fps using the full width of the frame, can shoot in 10-bit colour with 4:2:2 chroma subsampling for rich colour information, and has a full-size HDMI socket, rather than the mini-HDMI that was on the GH4. It offers a flat V-log profile which Panasonic says should increase the dynamic range to 12 stops. Cutting through the technical jargon though, what you need to know is that this is an outstanding, dependable camera that will produce terrific footage in every situation.

Sony a7S II

In the Sony Alpha stable, full of specialised cameras that excel at specific tasks, the a7S cameras are the low-light monsters. Its super-high maximum ISO level of 409,600 can quite literally turn night into day, and it also comes boasting S-Gamut3.Cine/S-Log3 colour profiles, a new Gamma Assist Display, enhanced slow-motion recording and more. Its 12.2MP sensor eschews high resolutions in favour of light-gathering, and works with the Bionz X processor to deliver 5-axis image stabilisation. Able to record 120 fps at 100 Mbps with full pixel readout, without pixel binning, the a7S II is a hugely versatile video producer.

Panasonic Lumix G7

If your budget doesn’t stretch to these multi-thousand behemoths, then the Panasonic Lumix G7 will suit you perfectly. This powerful machine is capable of shooting 4K video and has a tilt-and-swivel touchscreen for optimal operability. Rounding out the package is a handy electronic viewfinder and a well-built body with a solid ergonomic handgrip. For the price, this is a great mirrorless filmmaking camera, and is a solid starter choice.

Fujifilm X-T2 / X-T20

If you’d like to get into the lovely Fujifilm X system to shoot some video, the X-T2 is a solid buy. Fujifilm has created the F-Log gamma, a flat profile that marks out the X series as more serious video options than they have been in the past. The X-T2 also boasts a strong 12 stops of dynamic range and the absolutely outstanding image quality that users have come to expect from the series. If your budget doesn’t stretch to the X-T2, then it’s also worth looking at the X-T20, which is basically a miniature version of the X-T2, lacking a few features like some control dials and the option of a battery grip, but still able to produce fantastic footage.

Sony a6500

Sony’s speedy APS-C model is a great choice for videographers, able to shoot 4K for decent lengths of time, and also boasting 5-axis image stabilisation, S-Log, clean HDMI out and more. The a6500 handles well thanks to a comfortable grip, making it useful for handheld shooting, and its low-light performance is also impressive. The touchscreen LCD is another handy feature, making for smooth operability.