DSLR vs. Film

I think you’re going to like this picture…

Since video first appeared there was no question that film was vastly superior.

When video moved into newsrooms with the first big RCA cameras, conventional cameramen who had spent their lives shooting in film where aghast.  The quality was indeed terrible.  There was no comparison when it came to quality- tape was just faster and cheaper.

But video technology continues to expand.

A few years ago, 35mm camera makers like Nikon and Canon began to move into the realm of video. The cameras, which looked like 35mm still cameras could now record video. The advantage was that you could now marry video to the fine lenses that Canon and Nikon made.

When would video quality of these DSLRs cross films?

It would seem that has now happened.

Zacuto, a company that both makes their own products and rents out gear, also has a passion for the craft.

They have produced a fascinating video that compares the quality of film to the newest generation of DSLRs.

Check it out. It’s worth a look. And it speaks volumes about where the film business is headed.

I am indebted to Kevin Johnson’s b-roll.net for turning me on to this, and much more. Take a look.

Michael Rosenblum

For more than 30 years, Michael Rosenblum has been on the cutting edge of the digital video journalism revolution. During this time, he has lead a drive for video literacy, and the complete rethinking of how television is made and controlled. His work has included: The complete transitioning of The BBC's national network (UK) to a VJ-driven model, starting in 2002. The complete conversion of The Voice of America, the United State's Government's broadcasting agency, (and the largest broadcaster in the world), from short wave radio to television broadcasting and webcasting using the VJ paradigm (1998-present). The construction of NYT Television, a New York Times Company, and the largest producer of non-fiction television in the US. Rosenblum was both the founder and President of NYT TV, (all based on this paradigm (1996-1998). The President and Founder of Video News International, a global VJ-driven newsgathering company, with more than 100 journalists around the world. (1993-1996). Other clients include Spectrum News, Verizon and CBS News.

2 Comments
  • Yaroslav March 26, 2010

    Are you kidding me? You cannot begin to compare the quality of DSLR HD cameras. How can you call it a gimmick? The imaging chip alone is larger then the F900, used to shoot Sin City and other countless films. Its a $100k camera for $3k

    I meet with Phillip Bloom a couple weeks ago. You can see the real potential of these cameras in his work.

    http://philipbloom.co.uk/

    I think Michael should completely merge his courses with this new technology. It is in fact what he has been preaching all along. Its the ability for individuals to reach a level of image acquisition in video never before accessible to the average person.

    Why any one would take preference to view something shot on inferior technology is a bit baffling.

  • Cliff Etzel March 26, 2010

    I have a real issue with this whole mind set of DSLR’s/Shallow DOF perspective that is flooding this profession.

    Mediocre shooters feel that their content will be so called more compelling because they shot with the latest fad sweeping the market.

    I say it only makes a mediocre shooter look desperate (and I’ve seen plenty of that lately). If you have to use technical gimmicks to make up for your lack of compelling story telling shooting skills – go find another profession.

    I’d rather view a compelling piece shot on a single chip SONY HC7 that has clean audio and proper framing, story telling technique, etc than a boring story shot with the latest fad video DSLR.

    Too many shooters have become worked up (and plain lazy) over the shallow DOF film look. For all practical purposes, they lose all the features that standard video cameras provide – ie, they are stuck in manual focus, audio control is still a kludge, they have to buy more accessories just to compensate for the lack of proper features needed to shoot properly – but hey, it looks really cool when they shoot with it.

    Whatever…