![]() The GH1 is Panasonic’s MFT (micro-four-thirds), electronic-viewfinder still camera specifically optimized for video.The 7D is the DX/APS-C/4-perf/35mm-mopix-sized follow-on to the 5D Mk II.The 5D Mk II is the 35mm-still-full-frame/8-perf/Vistavision-sized video-capable DSLR that really set the category on fire. ![]() The D90 was the first video-capable interchangeable-lens DSLR.These four cameras run the gamut of “first-wave” versacams: Like any powerful tool-a chainsaw, an Aston-Martin One-77, a bazooka, a trained shark with a head-mounted laser raygun-versacams can yield excellent results when wielded well, but may equally deliver disappointment and disaster to those not conversant with their peculiarities.Īs of the time I write this, I’ve had a Nikon D90 for 16 months, a Canon 5D Mk II for 11 months, a 7D for 8 months, and a Panasonic DMC-GH1 for 4 months. There are grains of truth in both viewpoints versacams expand the mopix toolkit in surprising, exciting and affordable ways, but they come with considerable compromises in image quality and practical usability. Others reject them out of hand for their technical shortcomings and unsuitable ergonomics. Some proclaim them the revolutionary future, doing to RED what RED did to the industry before it: bring large-format, shallow depth-of-field motion imagery to the masses at a price point previously inconceivable. Hybrids, HDSLRs, VDSLRs, EVILs, DSMCs, DILCs? There’s as much confusion about what to call these highly-affordable, large-sensor, interchangeable-lens, video-capable still cameras as there is about their actual usefulness. Art Adams wrestles a fully kitted-out Canon 5D Mk II with 85mm f/1.2 Canon prime.
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