Since Hot Rod Cameras started a few weeks ago some highly respected people in the motion picture equipment industry have said to me “Why would you put PL mount lenses on a DSLR.” I don’t blame them one bit for asking, this is not something that’s ever been done commercially before. The answer to this question is really two-part.
First of all, imaging sensor technology is making big strides in still photography- much faster than purpose built sensors for HD movie making. I believe that in the next two years shooting a DSLR format body (or a very small and lightweight HD camera body) will become an accepted way to produce high resolution images for a variety of motion picture related markets.
Second, the primary thing preventing working in a professional setting with a DSLR for motion pictures is the lenses. Don’t get me wrong, the lenses built for still cameras can produce a fine image. However, those lenses were designed to capture an image that stands on its own, not images part of a sequence moving at 24, 30, or 60 frames per second. Most still lenses are not appropriate for professional level production because of the following reasons; lack of external manual control, external barrel rotation, image breathing during focus, zoom tracking off center, reversed focus direction, lack of FIZ (Focus, Iris, Zoom) gearing, indents at each iris stop, iris marked in F rather than T-stops, and lens barrel telescoping.
There are other reasons a DSLR may not be the best choice for a production, but lenses are probably the biggest. With very high quality images being created with modern CMOS and CCD sensors (like those found in DSLR cameras) the ability to gain all the professional manual lens controls is the first big step. I’ve had a couple ASC cinematographers tell me that if the DSLR images hold up- (and I believe they do) they could very easily see the combination of a Gh1 and Hot Rod PL being used as an Eyemo/Iconix/crash/POV camera replacement. If this combination can work in those scenarios for professionals working at the highest levels, a Gh1 and Hot Rod PL can most certainly become the “A” or “B” camera for lower budget, independent productions- I know it’s happening already.
The last 2-years saw the biggest increase in HD production in this history of the format. Using 35mm film is at an all time low on network television. The next 2-years will not be boring, and will usher in even more changes. If it’s possible we can make something easier or better when working with low-cost HD capable DSLR cameras (or HDSLR cameras, as they are now starting to be known) send me an email. We build photographic Hot Rods.