Shoot Expertise: The Shooter's Toolbox

The digital SLR (DSLR) can be a powerful addition to the shooter's toolbox, enabling capture of specialized scenes such as this time-lapse of a Los Angeles freeway. Other DSLR applications might include shooting background plates for DVD menus and visual effects or as a second-unit capture device for 2K and 4K productions.

The times are a-changing for shooters as our imaging tools are becoming increasingly varied. For specialized applications such as stop-motion and time-lapse, the multifaceted all-purpose camcorder is no longer the only tool at our disposal; this new era of image creation being apparent in post-camera tools such as Adobe After Effects and the high-resolution frames captured in the ultimate slow-motion capture device: the digital single-lens reflex camera (DSLR).

For itinerant shooters with the frequent-flyer miles to prove it, the DSLR is rapidly gaining traction as a key tool in our arsenal of tricks. As evidenced by the use of DSLRs in such feature films as Tim Burton's Corpse Bride (reportedly shot with a Canon EOS-1D Mark II), the time has come for many of us to consider versatile and rugged high-resolution still cameras of 11 megapixels or more.

The question remains, however, how to harness the DSLR's inherent high resolution for motion-video applications. The still camera's role in a video shooter's workflow is not yet entirely clear, and there are still some technical and craft issues to resolve. But one thing is certain even at this juncture: There's plenty of storytelling potential in a DSLR if the shooter plays his CF cards right.

As professional HD shooters, chances are we've already considered a DSLR for specialized work such as time-lapse and stop-motion animation. Canon, Nikon, Olympus, and others manufacture a range of mid- and upper-end models that support these particular functions.

Impervious to the elements and extremely rugged, the Nikon D3 is the ultimate workhorse for time-lapse and stop-motion applications.

If time-lapse is a primary goal, it's important to consider your camera's intervalometer capabilities. Some cameras require an external control — such as the TC-80N3 for the Canon EOS 5D, EOS 10D, EOS 20D, and EOS 30D models — while some Nikon DSLR models, including the D300 and D3, feature a built-in intervalometer function.

Inconsistent exposure from frame to frame is an occupational hazard when employing a DSLR for motion applications. Mostly, this condition can be attributed to a camera's auto-iris, which tends to overreact to shifting conditions within the interval.

Given this propensity, it's important to know that most flicker artifacts can be mitigated post-camera in Adobe After Effects' Color Stabilizer, which can track and compensate for most variations in frame density.

Of course, many shooters may question the wisdom of using auto-iris in the first place because a fixed aperture eliminates the flicker risk entirely. Trouble is, this approach is often impractical in setups covering a wide range of ambient lighting conditions — say, over a 24-hour period or multiple days.

The lower-cost D300 features the same onboard intervalometer functions.

Shooters with a manual frame of mind may want to use a dual-exposure approach, one setting for night and a second for bright daylight. The exposure can be switched in the overnight hours, with a long dissolve added in post to help smooth out the transition.

You can conduct a simple test to ascertain which approach is right for you. Using the Nikon D3, I set the camera in full auto and let it run over a 48-hour interval. In the end, the camera's auto-iris performed very well; my Los Angeles cityscape scene exhibited little if any exposure shift from frame to frame, as evidenced by the camera's recorded frames metadata.

Interesting to note, this subtle shift in exposure could not have been achieved manually; the degree of precision required at the frame level is simply not possible or practical over many hours or days.

Under some circumstances, shooters would do well to not blithely trust the auto-iris. In brief-interval applications, manual control of exposure is usually imperative and will likely produce the best results. If your camera has an interchangeable lens and lacks the manual ability to fix the iris, you can simply twist the lens off its mount about 30 degrees to lock out the auto-function. This strategy disables all other auto functions as well, so due diligence must be exercised when using this technique.

The specifics of exposure can be checked in each frame's respective metadata file.

The Nikon D3 features automated bracketing that can be useful against the vagaries of frame-based exposure shift. In this scenario, you shoot three frames for each setup: one at normal exposure, one at one stop under, and one at one stop over. In post, the individual streams are extracted and graded, with the best sequence used in its entirely. Not-withstanding the additional post work this entails, this strategy is less than ideal in high-motion sequences because a desired frame may not appear in the selected image stream.

The Adobe After Effects Color Stabilizer may be used to eliminate unwanted flicker in a DSLR-captured image sequence.

While many shooters may disagree, I contend that shooting RAW is usually unnecessary for most HD applications. In the first place, the mammoth RAW files require considerably more storage, which may constrain the number and size of frames that can be captured per session.

The Nikon D3 houses two CompactFlash (CF) media cards that can be configured contiguously for extended recording times, or concurrently for backup in the unlikely event of data loss during transfer of files or other operator misfortune.

Of course, some shooters will opt for RAW capture in any case, citing the enhanced ability to perform color correction, compositing, and general grading chores. My own experience suggests that high-res JPEGs (at 4K resolution) provide sufficient manipulation for most 1920×1080 HD projects without the additional burden of handling and ultimately archiving the very large RAW files.

For time-lapse applications, shooting RAW does provide at least one stop of additional exposure latitude — a potential help when shooting under wildly variable conditions. If you do go with shooting JPEGs, be sure to enable maximum quality and/or anti-aliasing (in the camera setup) because aliasing artifacts can produce an annoying moiré-type flicker once the image sequence is set into motion.

The Nikon D3 features two CompactFlash card slots for extended recording time. The second card can also record a simultaneous backup for security and peace of mind.

Appropriate use of a DSLR, like every other aspect of our craft, is dictated by story. If you're shooting a report about Los Angeles traffic, you'll likely to choose a shutter and interval that emphasizes the streaking lights of millions of passing cars. Conversely, if your story focuses on the celestial phenomena of sunrise and sunset over a construction site, your settings might be considerably different with an emphasis on optimal exposure and dynamic range for each frame. In the latter case, your camera's auto mode (including auto-iris but not auto-ISO) can be extremely helpful. Some cameras, such as the D3, require auto-focus to be enabled for the intervalometer to function, so DSLR shooters using this top-end model should be so advised.

One other piece of advice: Owing to the demands of your camera's shutter and processor, you'll probably need plenty of power for time-lapse work. This is especially true for shooting cars and people where long exposures are preferred, if only to avoid many individual elements popping up across the screen.

Needless to say, the shooter's toolkit is expanding as many of us are taking more than one camera to the job. We might use a full-size camcorder such as a Sony HDW-F900R or Panasonic AJ-HPX2000 for interviews and landscapes when size and physical bulk do not matter. At other times, we might opt for a compact camcorder such as the Sony PMW-EX1 or Panasonic AG-HVX200 when a compact, unobtrusive capture device better suits our needs.

Adding now to our bag of tricks is a versatile and rugged DSLR such as the Nikon D3. Suddenly, as a shooter, you may find yourself wearing a few more hats on your next production — whether standing on a rooftop for hours shooting time-lapse or capturing a stop-motion sequence at 4K resolution.

Skilled use of a DSLR can greatly increase your value on any production. Who knows? Maybe in addition to shooting your next feature, you'll be capturing the production stills as well.

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