In the digital era you’ve got to run pretty fast just to keep pace with what your customers are doing, and there’s no better example than the HD video explosion. It seems only last week I was writing about the Nikon D90 and the buzz generated by its breakthrough HD video capability. Now, roughly two years later, the world is rife with dozens of entry-level to pro-caliber DSLRs plus scads of point and shoots offering 1080p HD video, multiple framing rates and stereo sound recording.
Today, almost all your customers can be considered “prosumers” when it comes to HD video shooting: wedding, event and news photographers who want to remain competitive must now be able to shoot pro-caliber HD video plus stills with their DSLRs to satisfy their clients; even soccer moms and dads aspire to shoot smooth, well-paced videos that look good on a 50-inch TV screen as opposed to herky-jerky digital versions of yesteryear’s 8mm home movies.
Clearly, there’s great upmarket potential in this broad-based trend toward more sophisticated video at all levels. Retailers who understand this dynamic niche and serve it effectively can benefit hugely. Various product categories are destined to expand along with the HD video market, and others will inevitably be upgraded as consumers strive higher HD video quality, so we’ve list some specific examples of each at the end of this article. First, let’s fill in some background details.
HD Trends to Watch
One of the developing HD video tech trends is continuous AF tracking. At present, most DSLRs and point and shoots, even those with sophisticated still AF modes, can’t autofocus continuously when shooting HD video. If the subject moves out of the depth-of-field range, it will be out of focus to a greater or lesser degree. To autofocus on the subject, you can stop, autofocus and retake, or do what many high-end HD DSLR shooters do and switch to manual focus. Accessories like the ingenious iDC Run & Gun kits enhance shooting and focusing convenience when shooting HD in MF mode, but a better solution is continuous AF with AF tracking.
The Sony NEX-VG10, a 14.2 megapixel APS-C format HD camcorder with interchangeable E-mount lenses (MSRP $2,000; availability December 2010) provides continuous AF while shooting HD video, and so does the Olympus E-P2, which offers a choice of three video AF modes, including C-AF-TR (continuous AF+ tracking). These systems use contrast-comparator AF via the live-view feed rather than the quicker phase-detection AF system, so there may be some “AF lag” with fast-moving subjects. The consensus among techies: AF in DSLRs won’t provide the speed and multi-zone AF capability equal to still-image AF until the computing power built into cameras is substantially upgraded. For the time being, knowledgeable consumers will be on the lookout for cameras that have this feature.
Another area that bears watching: interchangeable lenses. What’s optimal for still photography isn’t always the hot ticket for shooting HD video. Many HD video pros favor wide-aperture (f/2.8) wide-angle zooms and fast, wide-to-moderate-telephoto zooms because of their framing flexibility in close quarters, low-light performance and ability to control the depth of field from broad to narrow for striking visual effects. HD shooters will make specific optical choices based on their shooting styles and whether the DSLR they’re using is full frame or APS-C format, but fast, wide zooms in both categories are expected to be hot sellers. Dealers who steer customers to demo videos or link them to the many HD videos online will have a leg up in enhancing their bottom line—because once your customers see the results, they’ll likely spring for the high-class glass.
Another HD growth area largely underserved by photo specialty retailers is software. Anyone who’s serious about editing video will need to acquire task-specific software like Apple’s Final Cut Pro or Adobe’s After Effects or Premier. And it doesn’t stop there. Plug-ins for these applications will let them take their videos to a level that rivals that of professional cine productions. An excellent example is Tiffen Dfx, a robust, dedicated plug-in suite that integrates seamlessly with the above software and gives users a vast array of options for processing footage—including a variety of gels and traditional optical filter effects. Because the source footage (H.264) output by DSLRs is already compressed, the fact that Dfx maintains high image quality is critical. Versatile easy-to-use systems like this help foster a better understanding of the entire post-production process. In short, Final Cut Pro and Dfx are good examples of the types of software your HD customers will want to buy. The beauty of all these apps is that the tutorials and the sample before-and-after video clips are already out there, so you don’t need to have a post-production guru on staff to turn a tidy profit while making your HD-shooting customers ecstatic.
Essential Accessories for Shooting Pro-Quality HD Movies
Obviously, it isn’t possible to cover every worthwhile tripod, stabilization device, lighting unit or viewing and video-optimizing accessory on the market in a single, concise article, so we’ve limited the choices to items with which we have had personal and positive experience. We also haven’t covered microphones or other sound-enhancing equipment, though we strongly recommend acquiring a top-quality mic to anyone aiming to create pro-caliber HD videos.
Finally, don’t forget to promote those high-speed high-capacity memory cards with every HD-video-related sale. For video shooters, 4GB is only the threshold and the sky’s the limit. And while prices for memory cards of 32GB and up have been steadily coming down, these are still high-margin items. Camera specialty stores can sell them a lot more effectively by leveraging their expertise, which is really the bottom line when it comes to cashing in on the HD video bonanza.
Tripods for HD Video
A medium-size tripod with a three-way fluid effect is a cost-effective all-round choice for DSLR-toting HD movie fans, but for customers who plan extensive video shooting at a pro level, recommend a real video tripod with vibration-damping crutch-type legs, a true fluid head that provides damping as well as friction adjustments, and two-handled panning action. For serious video work, a dolly with castor-type wheels that mount on the bottom of the tripod makes it convenient to move the camera around on smooth surfaces. This type of tripod not only has greater profit potential, it’s a great investment for serious video shooters—the quickest, most cost-effective way your customers can upgrade their video productions.
Davis & Sanford ProVista Airlift 18 Tripod. With an FM18 fluid head and optimized for pro field or studio video applications, this sturdy tripod features double-strut three-section anodized aluminum legs for added rigidity, a pneumatic cylinder center post for easy floating adjustment, locking center brace bubble level, two adjustable pan handles, independent locking pan-and-tilt adjustments, and a true fluid head with 12-lb. load capacity. Closed length, 32 inches; weight, 9 lbs. including fluid head; height extension, 31–68 inches. Functionality is enhanced with a D&S Tripod Dolly W3 ($50). With padded bag and 10-year warranty, $360. tiffen.com
Stabilization Devices for Handheld Video Shooters
Steadicam Merlin. The Academy Award-winning Steadicam is the ultimate stabilization device for shooting video handheld and the mainstay of countless Hollywood cinematographers. The Steadicam Merlin ($800) is the most compact, lightest, least expensive consumer version, and customers who are serious HD shooters planning to shoot extensive videos with DSLRs should definitely consider it. The ultra-professional Steadicam Flyer and Pilot are a lot more expensive but well worth presenting to any high-end pro video shooters in your audience.
Davis & Sanford Steady Stick Compact. This belt-mounted unit with a standard tripod socket takes the camera’s weight off the arms and shoulders and transfers it to the hips, vastly improving handheld shooting steadiness and minimizing fatigue. It’s adjustable for various shooting angles for panning low or high over a crowd, supports cameras up to 30 lbs., fits in most camera bags and helps guide and control your camera in any position. The Steady Stick has a removable, padded handle system that connects to the side or bottom of the unit for increased maneuverability, and it includes a belt holster, PVC tube, rod and connector. $180. tiffen.com
Eye-Level Viewing Device for Handheld HD Movies
It goes without saying that an LCD hood is a helpful accessory when shooting HD movies in live-view mode while composing shots. They’re available from Hoodman, Delkin and other makers. Hoodman also offers the following devices for eye-level viewing off the LCD.
Hoodman HoodLoupe 3.0. This 3.0-inch LCD screen loupe for Nikon and Canon is worn around the neck like a normal loupe and can be used to review shots by placing it over the LCD monitor to get a sharp, magnified view. It is adjustable over a +/-3-diopter range, has a nice adjustable rubber eyecup, fits LCDs up to 3 inches, and it’s encased in rubber to minimize shock effects. $80.
Hoodman Cinema Kit Pro. Suggest this clever kit to serious handheld video shooters. It includes the HoodLoupe 3.0 with magnifying video eyecup and a HoodCrane that mounts the loupe off the hot shoe. It’s designed to stay in place on your DSLR and to flip easily out of the way when necessary. $210. hoodmanusa.com
For Shooting Pro HD Video on the Fly
iDC Run & Gun Kits. These kits include an iDC viewfinder assembly consisting of a customized Hoodman loupe, L bracket and iDC system mount, an iDC Follow-Focus assembly that lets users easily adjust focus manually on the fly, and all the hardware necessary for transforming a DSLR into an HD video monster. The Run & Gun kits are also compatible with the latest iDC U-Boat video cage and quick-release base plate, and some kits include a control for quick aperture adjustment. For Canon T2i, $529.00; also available for other popular HD DSLRs. idcphotovideo.com
Video Lighting Gear
Auxiliary lighting lets you shoot in low light, at lower ISOs for better color saturation and overall image quality, and it helps fill in the shadows created by the ambient lighting. Relatively low powered on-camera video lights do not overpower the existing illumination, giving a natural look by complementing the light in the room. Indeed, many are designed to deliver diffused tungsten-balanced illumination that looks similar to portrait lighting.
Off-camera video lighting kits are essentially video-targeted studio lighting setups designed to fit into a carry case. They come with multiple lights, including fully adjustable floodlights, stands, umbrellas and a range of accessories that allows users to configure sophisticated lighting effects. On-camera battery-powered video lights are more compact, lighter and better suited to shooting movie clips on the fly. That’s why they’re very popular among news photographers, event photographers, vacationers and home video shooters.
Smith-Victor KT500U Two-Light Thrifty Kit. This basic floodlight kit provides the essentials for shooting video or stills. It includes two lights with two ECA 250-watt Photoflood lamps, two socket and cord sets, two 10-inch reflectors with 5/8-inch stand mounts, two UM-6 umbrella mounts, two white 32-inch shoot-through umbrellas, and two Raven RS8 8-ft. light stands. A new through-the-reflector mounting system places the umbrella close to the light axis for maximum lighting control. With Imaging with Light guide, $99. smithvictor.com
Lowel id-Light Complete On-Camera Set. This focusable, dimmable, tungsten-balanced video light can be mounted directly on a wide variety of cameras and camcorders. The set includes a 55w tungsten-halogen lamp, captive cable with industry-standard Anton Bauer tap, low link, cam-link, IP focus extension, spare 100w bulb and VIP stand link. It provides essential fill-light, eye-light and contrast control ideal for interview and documentary shooting without overwhelming available light, and it can match candlelit scenes at its dimmest setting. It’s fitted with a high-intensity #2 reflector and prismatic glass to provide even flood and uniform spot lighting, and it tilts 160º via an adjustable constant-tension, one-handed no-yoke fitting. It weighs 1.5 lbs. complete with 4-ft. cable. $230.
Lowel DV Creator 1 Location Video Lighting Kit. A great area or room lighting setup for serious video shooters and emerging pros, this comprehensive kit offers an outstanding combination of sophisticated lighting versatility, easy setup and reliability. It includes: one Pro-light P2-10; a Pro-light four-way Barn-door; a 200w, 120-volt lamp; one Omni-light O1-10 with barn-doors; a 500w, 120v lamp; one Tota-light T1-10 with 750w, 120v lamp; three compact Uni TO stands; one Tota-frame; a Flexi-shaft Pak; a Tota-flag; one Tota-brella; a T/O Lampak; and assorted gels. It all stows in an included LB-30 soft case, making it an ideal combo for pros on the go. $855. lowel.com