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There are many hybrid cameras on the market, but it seems as if only a few offer shutter angle while shooting video, a feature that can be indispensable. Photo: Jason Hendardy |
When I think about what a hybrid camera should provide to the user, it may seem obvious to say that the camera in the simplest sense should be able to shoot still photos and videos.
This may be an oversimplified definition, but I find it to be a good starting point in terms of the features a hybrid camera should have. And even today, with everything modern cameras can do, I still feel that they don’t address the needs of users looking for a true hybrid, especially when it comes to video features. The thing is, in a time where we have access to countless capable cameras, new and old, manufacturers are tasked with enticing users into their branded ecosystems through a constant cycle of throwing features into their cameras. To this I say – just because a manufacturer provides a feature, it doesn’t mean it’s pleasant to use. And some key ones are still missing.
Just because a manufacturer provides a feature it doesn’t mean it’s pleasant to use.
We need to build a better hybrid camera.
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A brief diversion, before we dive into this subject further: let’s address the elephant in the room.
Not everyone may want a hybrid camera that shoots both photos and videos.
That makes sense.
Luckily, for those only looking to capture still photographs there are a few camera options that drop the video functionality completely, such as the Leica M11 and the Hasselblad X2D. Unfortunately, if you want a camera like this today you’re starting to creep into specialty camera territory. Since there’s a smaller pool of people demanding this, camera manufacturers need to pass on to them the costs of separate R&D and smaller production runs. In other words, you may end up paying more for a stills only camera than a hybrid camera.
Chances are, then, that even the purists are going to wind up with a hybrid camera of some sort, joining those like me who need one that does both sides well.
With that out of the way let’s discuss hybrid cameras in terms of what our expectations are, and specifically what video features we may hope to see. If the camera is going to be a go-to filmmaking tool in any professional capacity, especially for solo operators who may not have budget to build out a crew, there’s a lot to be desired.
Hybrids have come a long way, but need to go further
I’m not here to say that we haven’t seen hybrid cameras evolve from the days of the Nikon D90 and Canon 5D series. In lines like Panasonic’s GH series and Sony’s A7S series there have been many evolutions. We now have more options: a dedicated switch or button to move from stills to video mode while maintaining settings, log profiles with the ability to add assistant LUTs, sometimes even a headphone jack. (Maybe nowadays I’d replace my gripe about a headphone jack with a full HDMI port. I’ll admit I prefer the safety of an SDI port over an HDMI – but that’s a post for another day.)
There are two features in particular that I would love to see added to hybrid cameras: shutter angle and 32-bit float audio.
As I noted before, though, camera manufacturers are on a cycle of tossing out features, and with all the improvement it sometimes seems as if user experience takes a back seat. It leaves me feeling as if it’s like Netflix: offering a bunch of new movies but when you go to check them out they’re only available in 720p or lower resolutions. Personally, I still find a majority of hybrid cameras to be great still photography cameras and okay video cameras. Even in so-called video-centric hybrids I often find a number of features to be lacking in the video department.
There are two features in particular that I would love to see added to hybrid cameras: shutter angle and 32-bit float audio.
Both of these features are specifically about the user experience: providing a smooth workflow and potentially saving solo operators the heartache of shooting video at an unfavorable shutter speed or having blown-out audio because levels were peaking.
Of course these features are less of an issue if you’re on set with a crew and have someone monitoring video capture and settings in the first assistant camera (AC) position, and someone else in the position of sound recordist operating the boom pole and in charge of audio. But given that you’ve bought a hybrid camera and not a dedicated cinema camera, the likelihood of your having such a team seems a bit unlikely. It’s the hybrid buyer specifically who needs the help these features bring.
Shutter Angle
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Even on entry level cinema cameras shutter angle isn’t consistently available. The newer Sony FX30 still uses shutter speed, whereas the more expensive, older Canon C70 offers shutter angle. Photo: Jason Hendardy |
@dpreviewtv Shutter angle. Jason Hendardy talks about what it is why we deserve shutter angle on cameras marketed as hybrid or cinema cameras.
The basic difference between shutter angle and shutter speed is that shutter angle is relative to frame rate. You can safely change your frame rate, and shutter angle will automatically conform to the correct ratio to produce an image with the expected amount of motion blur.
Most people are familiar with the look of a 180° shutter angle due to what we see in cinema. This is also why people refer to the 180° shutter rule when shooting video with a camera that uses shutter speed. An example of this would be if you are shooting at 24fps (frames per second) your shutter speed should be double that, 1/48th of a second. If the camera has only shutter speed, and you move to shooting at 120fps, you need to remember to change your shutter speed to 1/240th of a second. This opens up the opportunity, especially for solo operators moving fast, to miss the step or incorrectly adjust it when switching between frame rates.
On a camera with shutter angle they could easily move between frame rates, for example from 24fps to 120fps, and because the shutter angle is locked (more often than not at 180°) it will automatically change to match. Essentially the camera is doing a lot of the math and work for you.
32-Bit Float Audio
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A number of external audio devices such as the Zoom F6 allow users to record 32-bit float audio. But having to monitor multiple devices can be cumbersome for the solo videographer or small crew without a dedicated location sound recordist. Photo: Jason Hendardy |
@dpreviewtv 32-bit float audio. What is it and do we need it for video production? Jason Hendardy shares an overview on 32-bit float audio bit depth format, along with 16-bit and 24-bit, and why it may be a helpful tool for capturing sound for video.
32-bit float audio is a newer bit depth format in audio that accompanies the familiar 16-bit and 24-bit standards.
16-bit audio can capture a dynamic range of 96.3 decibels. 24-bit audio can capture a dynamic range of 144.5 decibels. In contrast, 32-bit float audio can capture a dynamic range of a massive 1,528 decibels. (Within the embedded video I had severely under-calculated the dynamic range of 32-bit float.)
32-bit float encodes data values in scientific notation rather than full number values, which is more efficient, allowing it to capture audio that exceeds what a human can hear. The benefit of this, particularly to a solo videographer, is the extra latitude that makes it unlikely they’ll peak or blow out their signal while capturing audio.
There’s a common saying among many of us who shoot video that our videos are only as good as our audio. People watching video are often forgiving of questionable image quality, but when the audio is awful it’s usually a hard pass for the viewer. 32-bit float audio could save many a creator’s video from that fate.
What am I really asking for?
In the near future I hope that we’ll start to see more hybrid cameras offering shutter angle, perhaps similarly to how Panasonic and Leica do it in their cine modes on several of their cameras, which I consider a good start.
In regards to 32-bit float audio, I’d really like to see this bit-depth format make it into cameras as an option. Cameras are only now starting to capture 24-bit audio, and they often don’t even highlight it in their marketing materials. This is an example of how most hybrid camera manufacturers are still focused on the imaging side, even of video production. Taking audio into account using tech that’s available now would be a sign that they’re finally offering a true hybrid camera for solo operators.
Is there a feature you’ve been wanting to see in hybrid cameras, or cameras in general? Share your wishlist with the community and let’s see if there are certain items we’re all hoping to see within the future.
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This article comes from DP Review and can be read on the original site.
