Can there be too much of a good thing? Too many shiny options can dazzle and confuse even seasoned camera buyers.
Whether you're building a video system from scratch or upgrading, there has never been a better a time to shop for a new, cost-effective pro HD camera. Thanks partly to Moore's Law, the quality and versatility of HD cameras has risen steadily over the past decade, while prices have either flattened or even declined—creating a buyers' market.
But with so many choices, what should you buy? Can there be too much of a good thing? Too many shiny options can dazzle and confuse even seasoned camera buyers, let alone a relative newbie shopper—even within a particular performance and price zone like the nebulous “affordable pro cameras.” Rather than condensing a full-spectrum camera catalog into one article, I'll focus on two groups of “prime value” cameras, both priced mainly under $10,000.
It seems apt to start with HDSLRs (DSLRSs that also capture HD video), as they have done so much in the past several years to raise the bar in terms of production quality—and value. First of all, their large single sensors have raised the quality expectations bar while keeping prices competitive. Secondly, they've launched a new genre of digital cinema-style cameras with large sensors that have pushed the quality bar up to and perhaps beyond that of 35-mm movie film cameras.
Despite all the attention, DSLRs are not designed to be the primary “inside cameras,” but as the go-to mobile location cameras, especially for creating the broad range of video inserts used increasingly in so many worship services today. Among their limitations, they currently have a file size limit of 4GB. At the highest quality of 1080p the recording will stop just before 12 minutes. You may get double that at lower frame rates in 720p, if the camera doesn't overheat beforehand. The overheating time frame may vary from model to model, but the file size limit does not. Also, most HDSLRs are not well-designed for recording audio, although adapting standard mics with mini plug adapters is also proving more viable as newer DSLRs have expanded their onboard audio controls somewhat.
A LOOK AT SOME OPTIONS
Video-wise there are now many great HDSLR and now post-HDSLR choices. Canon's EOS-C series of digital Cine cameras perhaps best represent the latter, including the EOS C100, C300 and C500, all featuring 35-mm film-sized sensors. Of these, only the C100 falls into our affordable category, at $6,500 list. With rebates, the C300 is double that, but the price is dropping slowly. Both have large single sensors, which enhance their sensitivity in low light, but also decreases depth of field and focusing latitude. This can be problematic for follow focusing and even for medium and closer shots.
Of the two, only the C300 has HDSDI I/Os, the industry standard for digital multi-camera production. However, this doesn't necessarily mean that it is well-suited for multi-cam shooting, but that it is physically feasible, although still challenging, especially without expert camera operators. The much more affordable C100 has only HDMI I/Os, a more delicate connection which can seriously compromise camera movement. On the plus side, both the C100 and C300 have advanced auto focus to help deal with the shallow depth of field.
Nevertheless, while both models do have the minimum technical requirements for multi-cam work, that is not what they were designed for, and they shouldn't be anyone's first choice of camera for that purpose. However, they are both well-suited for single- and dual-camera interviews, message bumpers, and documentaries.
HDSLR cameras have done so much in the past several years to raise the bar in terms of production quality—and value.
HDSLRs, including Canon's latest 5D—the Mark III with a 22 MP sensor, can also be put to good use in church applications. Their best use in church production is untethered applications such as interviews and shooting beautiful B Roll footage for use in video inserts, which play a growing role in many church services. The 5D Mark III and also the new EOS 6D also perform much better in low light than their predecessors (max ISO= 102.4k), which can reduce lighting needs and reduce setup/breakdown time. Both also feature enhanced light metering and auto focus to better handle low light shooting.
While Canon may have launched the DSLR revolution, Nikon is closing the gap. Recently it introduced its D800, with a whopping 36 MP sensor, priced lower than Canon's leading large-sensor DSLR, the 22 MP EOS 5D Mark III. However, while both models may offer the best HD images per dollar that money can buy today, this may have limited application inside the church. The delicacy of mini-HDMI connectors eliminates any chance of using them in a multi-camera context. Again, their greatest value for church production may be in the making of video inserts where image quality can make a difference.
MONEY MATTERS
Budget-conscious church producers may want to scrutinize Nikon's D7100, with a 24 MP sensor. It records most 1080p and 720p formats, has an OLED viewfinder, advanced image processing and auto focus, yet costs 60% less than the D800, at only $1,200 list. The brand new D7100 may be the hot new “budget HDSLR” of spring 2013.
One thing to bear in mind with HDSLRs in general, though, is that the mid-/higher-priced models like the Canon 1D and 5D Mark models are generally made tougher to better withstand the rough and tumble of daily use by professionals. Hence it may be worth paying a bit more for the durability if your DSLRs will be in constant use, especially by a succession of volunteers.
For many churches, the more practical and versatile approach to satisfying production needs is with a standard three-chip video camera—typically a camcorder. Today, any new camera sold is certain to capture at least one, if not several, high-definition video formats. Due to space and time limitations I can only highlight a few cameras here, mainly those retailing under $7,000.
Naturally, Panasonic and Sony, the two biggest pro video camera makers in the world, also have the best selection of cameras for church and event production within this price and performance range. For that reason and for space limitations, I'll focus on a few newer viable options from each.
A prime example is Sony's PMW 200 XDCAM HD422 camcorder, with three, half-inch Exmor sensors (EX3). It records 1080p (24 and 30 fps) or 720p (24, 30 or 60 fps) to three kinds of onboard media: twin SxS or SD memory cards, or to memory sticks. It can record to two of these at once in case you need a copy to hand off right after the service. It also features up to 15 seconds of “cache recording” or pre-record. The PMW 200 also has the time code and Genlock inputs and HD-SDI output needed for multi-camera production, plus four channels of audio, good low-light recording, etc., all for around $6,000.
If PMW 200s are beyond your budget, Sony's HXR NX5, with three, one third-inch CMOS sensors may suffice. It can record 1080i/1080p and 720p at up to 60 fps to SD cards or to memory sticks, and simultaneously to a dockable external recorder with a 10+-hour capacity at the highest quality. It also has Genlock, plus HD-SDI and HDMI outputs for multi-camera control, all for around $4,000. You can have all of these features minus a few (mainly audio options, like no shotgun mic, nor uncompressed audio, nor SxS cards) and save at least $500 by choosing the scaled down Sony NX2000.
Panasonic's answer to the NX5 is its AG-AC160A, plus a few extras. The AC160A can record 1080p at various frame rates up to 60 fps, which can give you 2.5X slow motion with 24p default rate. Extra handy is “Turbo Speed one-push auto focus” for fast, accurate auto focus. Its 22X lens starts wide and goes long, equivalent to 28-616 mm lens on a 35-mm camera. It records AVCHD to dual SD, SDHC or SDXC cards and has all of the I/Os required for multi-camera production, including HD-SDI for about $4,500 list.
But, if even that busts your budget, you can save $1,000 with the AG-AC130A, which has many of the same features except no 1080p60 capture, (but has 720p60) and compressed audio (vs. uncompressed). The latter means that you can't edit the service in Final Cut Pro, or in most other pro non-linear editors (NLEs) that can't handle compressed audio.
However, if video quality is paramount, you can capture all the aforementioned HD formats, including 1080p at 60 fps at a higher data rate of 100 Mbps, in the more robust, 10-bit AVC Intra format, recorded to Panasonic's error-free P2 cards, for an extra few grand with Panasonic's AG-HPX 255 ($6,500 list). It is also better designed for multi-camera studio applications with a remote terminal for studio control, plus HD-SDI and HDMI output—an all-purpose camera for church production.
Although designed primarily for newsgathering, JVC's newest compact camera, its GY-HM650, may also fit the bill for some churches, with HDMI and HD-SDI outputs for multi-cam use. It also records in both AVCHD and H.264, widely supported by today's editing software. It also includes a fairly wide-angle 23X Fujinon lens. The HM650 also has WiFi for remote monitoring or even capture via Android phones and tablets, at $5,700 list.
JVC's three-chip HM790U with 4:2:2 color capture can be fully configured for studio use for as little as $8,000 without the lens, or for $9,000 with a 14X Fujinon lens. Lenses with longer zooms can be substituted for more. The HM790 is one of the few studio-cameras left on the market with Firewire plus HD-SDI I/Os. Its modular design permits many configurations including an optical studio kit for $27,000—but that's another genre of cameras, for a different camera buying guide.
