I’ve been puzzled for a while at the explosion of DSLR use for video work. Why would you use a still camera for video when there’s a universe of fantastic video cameras out there. After I looked at Vincent LaForet’s “Reverie” clip (shot on Canon’s 5D mk2) I saw the potential. But he’s a genius with light and composing so he could shoot with a mobile phone and look good. That and the ergonomic/sound/file issues convinced me it was a bad idea.

 The conversion…

So then I casually emailed the other writers on this site and did that start a storm of emails and some heated discussion. I actually asked why the video world suddenly discovered depth of field when it’s been there forever. That lead to the DSLR versus Video camera issue and that started me thinking it might not be a bad idea.

 So last week I got a Canon EOS550D to test drive. I can skip the still side other than to say it's as good as you'd expect from a DSLR like this. So on to the video. It shoots 1920x1080p and a selection of lower rates. It's curious tat it'll do 1080p but not 1080i.

You can choose 720i if you want to.

 I wandered down to the botanic gardens and shot some nice pics on a nice day. As I expected the images are stunning and I like the look. Here's the but though. It only works if you have the patience to set each shot and the video autofocus is hopelessly slow. I don't understand. In still mode the focus really is instant but in video it hunts wildly and takes around 10secs to settle down.

 So in the end I switched to the first still setting, set the shot in the viewfinder, and switched back to movie mode to take the shot. This required time but in this setting is worth the effort. Because it's a DSLR the mirror hasa to go up for light to hit the chip.That's why you can't use the normal viewfinder. It's closed for the duration.

 The reason that the pics are worth pursueing is that the chip is so much bigger than a conventional video camera. The big ones are bigger than broadcast TV cameras. More light on more chip equals better resoltion and sharper images. In the old days it was SLR versus large format twin lens cameras. Bigger is better.

 Two days later and I'm at the Royal Show to shoot some Army reserve people. I decdied to try an interview with the 550 and built up a kit to suit. I added a radio mic, small light and matte box on rails. I also ested that the camera will feed live to an external monitor and it does. The camera LCD shuts down and the outgoing feed takes over. Very useful in the field.

 There is no manual audio control and no visible meter either so I was well out of my comfort zone here! I trusted the gear though and it came through OK. The AGC isn't on overdrive and rode the levels well. Given the loudness of the background noise it did really well and if you look at the waveform it does not over compensate. So it passes that test.

 What I've been interested in doing is putting together a fly away kit that can travel in a backpack. That means three lights, camera, mics, tripod, monitor and all the associated leads. If a DSLR can do the job then that's a step closer. The rest is easy. So now it's practical because shooting an interview is a prepared shot and you can take the time.

 I fixed the viewfinder bit buy buying a hoodman viewfinder. It multiplies the zoom by 2.8 and has an adjustable diopter for personal settings. I also bought an eyecup to suit. That set me back $160 but is money well spent. It fits over the LCD screen and now you have a decent viewfinder and focus and exposure can be quiclky set so all in all all problems solved. This looks like the solution to me. I have a range of SLR lenses I can use and filters to fit.

A video DSLR will not replace me trusty Canon XLH1 which I love but it can work alongside it, especially on the road. As a solo operator I don't like taking the full sized kit. It's too much like hard work.

 So where do DLSRs fit in? My research took in manu arguements for and against. The end result is that you can, with patience, get $50,000 images in a sub $3000 kit. Awesome but take a large bag of patience along and work around all the problems. Indie movie makers will love it. It will not work for doccos or news production where the rule of shooting on the run applies.

 For me my perfect world is now large video camera, small video camera and DSLR. Oh and I forgot to mention that the other benefit is that you have a decent SLR for taking stills as well. I'm going to see if it can do both roles well on a family holiday next. I like the idea of brilliant SLR and video in one.

We'll see...

By Steve Turner

I started in TV as a videotape operator for Channel Nine in 1980 and went to News editing in 1984, becoming Senior News editor for Nine Adelaide.

In 1988 moved to production editing (doing everything from sport to station promotions and programs) and then in 1989 moved to London to work for Sky News UK. This was just starting up and I helped set up the news editing operation.

The highlight of this year was covering the fall of the Berlin wall (where I location produced and edited continuously for five straight days and nights - grabbing sleep here and there). The best bit was interviewing people crossing the wall for the first time in years.

I returned to Adelaide in 1990 and freelance vision switched and also did graphics for news and production. Left again in 1991 to backpack the planet for 12 months with my partner Rochelle.

Back in 1992 and returned to production editing and graphic design for Channel Nine. I worked on all the Adelaide Formula One races (1985-1995) bar 2 (while away) doing foreign broadcast editing - packages for overseas networks in their languages.

Began Directing news in 1997 and started my own production business doing weddings and corporate work. This was followed quickly by producing science films for Flinders University and the setting up of our web business selling science related videos, CDroms, and now DVDs.

Started writing for Australian Video Camera in 2003 then Auscam when it started. Produced and shot news features for the Ten network and worked freelance on the Athen's Olympics in 2004 for Seven.

Left Channel Nine to join Channel Seven in 2005. Involved in the setup and operation of Seven's new news operation and regularly direct the six o'clock news. Directed and produced Seven's Anzac day telecasts for 2005/6 and independently produced the 13 part series "Fishing and Boating" for Channel Seven.

Produced and shot a documentary on drug abuse with an Indigenous Elders group as well as a two part docco with the RAAF. Current project include a docco on Alzheimers and another on the lives of siblings of disabled people.

I have three gorgeous small children and am a part time stay at home Dad...

...It's a busy life!!