{"id":11086,"date":"2019-02-11T17:49:06","date_gmt":"2019-02-11T17:49:06","guid":{"rendered":"https:\/\/www.apogeephoto.com\/?p=11086"},"modified":"2019-02-11T17:53:15","modified_gmt":"2019-02-11T17:53:15","slug":"best-mirrorless-camera-video","status":"publish","type":"post","link":"https:\/\/www.apogeephoto.com\/best-mirrorless-camera-video\/","title":{"rendered":"The Best Mirrorless Camera for Video in 2019"},"content":{"rendered":"
<\/span><\/p>\n The esteemed camcorder finds itself increasingly pushed to the side in favor of modern digital cameras. Both DSLR and mirrorless cameras are increasingly capable of providing professional video results. However, mirrorless cameras are pushing the boundaries of hybrid photography\/videography work due to the amount of technology put into their advanced sensors. <\/span><\/p>\n Today\u2019s mirrorless cameras have their autofocus points right on the sensor, as well as advances like backside illumination. And now that even full-frame mirrorless cameras are extremely affordable, camcorders are increasingly out of favor when you can have a more advanced sensor for the same or less money. <\/span><\/p>\n Weatherization is another strength of modern mirrorless cameras. Weatherizing (or dust and splash-proof) isn\u2019t all created equally. Fujifilm, Panasonic, and Olympus\u2019 weatherization tends to be fully functional in downpours and storms, while Sony cameras are infamous for having issues in the worst conditions. But, being able to shoot knowing a drizzle isn\u2019t going to have much impact is great for peace of mind and workflow.<\/span><\/p>\n Lastly, mirrorless cameras tend to be quite trim compared to DSLRs and especially camcorders. As the name suggests, mirrorless cameras do away with the internal mirror system DSLRs use to channel light to their optical viewfinders and phase detection array. Instead, the autofocus pixels sit right on the sensor and the sensor sends a preview image to the electronic viewfinder. <\/span><\/p>\n This cuts down on internal camera space and slims down the camera body, making a full frame camera like the Sony A7SII slimmer than many popular DSLR video cameras despite the larger sensor. So without further ado, let\u2019s take a look at the best mirrorless cameras for video work.<\/span><\/p>\n Sensor size is a very contentious issue because there are so many technological advances that can mitigate or negate the advantages of one size over another. Backside illumination, larger pixels, resolution, lens quality, and many more factors play into the quality of your video. <\/span><\/p>\n How large or small the sensor of your video camera is will affect the field of view, the depth of field, and how much light it collects. For interchangeable lens cameras, the three major formats are: <\/span><\/p>\n It\u2019s so easy to say that large sensors are best because they collect more light, generate a shallower depth of field, and create a larger field of view. But honestly, it depends on your needs as a videographer. <\/span><\/p>\n If you need a light travel kit with reach for wildlife, then a Micro 4\/3rds camera will check far more boxes for you then a Sony A7 series camera due to the 2.0x crop factor. If you\u2019re a low-light concert shooter or a documentary interviewer and don\u2019t mind heavier lenses, then the superior light gathering capacity of a full frame sensor is your best bet. If you want a bit of both worlds, perhaps APS-C is better for you. <\/span><\/p>\n How much dynamic range the sensor can capture is important to consider. Part of the cinematic look consists of how much detail can be retained in the highlights and shadows. Without good dynamic range capture (~12-14 stops) you\u2019ll tend to see highlights washed out and deep shadows instead of rich details in combination with each other. In effect, the camera sensor will register those parts of the scene as purely black or white without resolving detail.<\/span><\/p>\n The cameras here not only have excellent native DR capture but often have DR boosts for additional resolution. They all also offer log gamma which creates a high dynamic range video file with a flat color profile. The flat colors may not look attractive right out of the box but are an advantage. It<\/span> allows you to tweak the colors to suit your aesthetics perfectly. Combined with the high DR of the log gamma files you can achieve stunning results.<\/span><\/p>\n In the past few years, mirrorless manufacturers (pioneered by Olympus) started designing cameras with image stabilization built into the body. Previously, stabilization was limited to stabilization motors and gyroscopes within the lens, and the tripod, of course. But by stabilizing the camera\u2019s sensor itself, every lens you now pair with the camera benefits from some level of stabilization. <\/span><\/p>\n Image stabilization is very helpful in reducing camera shake while shooting stills hand held but it\u2019s just as useful for videography. While handheld gimbals do a great job, sensor stabilization will work in tandem with gimbals to create smooth video that can compete with professional studio work. <\/span><\/p>\n That\u2019s why several of the cameras here feature hardware sensor stabilizing technology over the inferior digital IS many manufacturers bake into their cameras. Stabilization is particularly handy for vloggers and other videographers on the move.<\/span><\/p>\n What video resolution do you need? 4K is currently the highest resolution offered by prosumer video cameras. It is seen as a must-have for videographers. <\/span><\/p>\n On the one hand, 4K displays are still not the standard (yet). Which means that Full HD has a place for most videography work. 4K files are also that much larger than Full HD ones, meaning the time it takes for editing and the amount of storage space taken up by those files increases as well. \u00a0<\/span><\/p>\n On the other, having 4K master copies means your work is future-proofed for when 4K displays are the norm. Downsampling video from 4K to Full HD gives better results compared to natively recording in Full HD resolution. <\/span><\/p>\n So if you can sacrifice the space and workflow for it, then 4K is great to have. If your work is more casual or you want to maximize the processing power of your computer, then 4K is not necessary. Odds are your camera can record 4K; other than Canon, most camera manufacturers know its extremely high in demand right now.<\/span><\/p>\n <\/a><\/p>\n Sony A7S II<\/a>\u00a0is one of the best video cameras on the market today. While it\u2019s a bit dated compared to the Fuji X-T3 and the Lumix Gh5S, it still offers the best low light performance on the market. It also has all of the videography features you\u2019d expect in a hybrid stills camera geared more towards video.<\/span><\/p>\n The Sony A7S II has the largest sensor out of the three manufacturers listed here. At 35 x 24mm, the full frame sensor of the A7S II is <\/span>unmatched<\/span> regarding low light shooting and focusing. The individual light-gathering pixels are huge in comparison to those of the Fuji X-T3 and other high resolution sensors. <\/span><\/p>\n This means that the A7S II is not quite as good for hybrid shooters who plan to make larger prints of their work because the image resolution is just too low.\u00a0<\/span>The Sony A7S is still a competitive choice, with the same base statistics as the A7S II. <\/span><\/p>\n While the Mark II uses the same sensor as its predecessor the A7S, the second iteration has a few improvements. This includes more magnesium to reinforce the toughness of the exterior as well as a reinforced lens mount. While quite trim for a full frame camera, it also offers a deeper grip compared to the A7S for more secure one-handed operation.<\/span><\/p>\n
\nWhat Should I Be Looking for with a Mirrorless Camera for Video?<\/b><\/h2>\n
Sensor Size<\/b><\/h3>\n
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Dynamic Range<\/b><\/h3>\n
Sensor Stabilization<\/b><\/h3>\n
Video Resolution<\/b><\/h3>\n
\nBest Mirrorless Cameras for Videography<\/b><\/h2>\n
Sony A7S II<\/b><\/h3>\n
Full Frame Low-Light Machine<\/b><\/h4>\n
Additional Features<\/b><\/h4>\n