Avant-garde for pros: an overview of the latest mirror-less cameras

The next “system” camera which is designed for professional video recording is a good reason to make a general revision: how the mirror less cameras are doing with video recording and why the amateur photographer might need it. Of course, such serious devices as recently issued Panasonic Lumix GH4 or just announced Sony Alpha A7S are extremely skilled in this business and even too much so. Even if a buyer is ready to pay a required sum for these cameras and their useful accessories, the main part of their functions will not be required. While Japan officially launched 4K television at the beginning of the summer, we do not even have a very common means of playback which support such a resolution. And to edit such detailed visuals you need a very productive computer and specialized software. So let’s leave those cameras to the professionals.

Sony Alpha A7S

What can be useful to the amateur? The choice should begin with the format of recording clips. While 4K still needs to languish in professional studios, FullHD is already quite a mass format. To process it, a mid-sized modern computer will do just fine. And don’t just assume that 1280×720 pixels is good enough for your eyes. It’s better to get more information when you shoot and compress it later if necessary. However, when choosing a modern “system” camera the consumer is unlikely to face resolution limitations.

Frame rate is another matter. The maximum value of this parameter can range from 30-60 fps. As in the case with resolution, it is better to give preference to the largest characteristic. In the 60p mode the videos of landscapes and views with smooth motion in the frame are very effective, practically professionally. The letters P and I used for recording formats denote progressive and interlaced scanning respectively, and if a buyer wants maximum quality without much concern about the size of the video files, the first type of scan should be chosen. Otherwise the amount of data may be cut in half, but the image will show a variety of artifacts in the form of ripples, combing and flickering.

Virtually any photographic lens can be used for video recording. But if you don’t want to deal with extra equipment and want to simplify the process as much as possible, then the best choice would be zooms with a motorized drive. Panasonic and Olympus were the first to present such optics. In the micro 4/3 system, therefore, finding a suitable lens would be easiest.

There are two motorized zoom models for the Nikon 1 at once: the compact “kit” zoom and the big, but powerful 10x. Sony, except for 11x zoom with variable aperture, offers also less “far-sighted”, but qualitative lens PZ 18-105 mm with constant maximum aperture f/4. The outsiders in this category are still Fujifilm and Samsung.

The problem of image vibration correction, which is almost more critical for video shooting than for photography, is best handled by Olympus. Here we should pay attention to three models: OM-D E-M5, E-M1 and PEN E-P5. In other cases you will most likely need additional stabilization means to get a smooth video rendering.

Olympus OM-D E-M1

And finally, let’s not forget that besides pictures in the video there is also a sound. To get a good quality audio track with a built-in microphone, even if it’s stereo and has a variety of noise reduction technologies, will be difficult. it’s worth choosing camera models which have an audio input. But its absence doesn’t always mean you can’t plug in a better quality external microphone. For example, the latest Sony “hot shoe” cameras have an additional contact group through which to communicate with proprietary microphones installed in this connector.

Olympus has a SEMA-1 unit that installs in a proprietary accessory port. Through it to the camera, including the E-M5, you can connect any microphone with a 3.5 mm jack. It already comes with a high-quality two-channel “loopback” microphone. It is worth taking into account that different manufacturers have different frequency of external microphone connection. Nikon and Samsung have it only in the most senior cameras, and there is no alternative solution to the lack of an appropriate port. Fujifilm offers audio input in all models starting from X-E1 and higher, and the simplest thing is with external microphones in Olympus and partly in Panasonic.

The choice of models, capable to record high quality video, among “system” cameras turns out to be great in any case. The buyer can only decide on his own expectations and requirements. And of course we mustn’t forget that first of all “system” cameras are photo cameras.

Panasonic Lumix GH4