DSLR Video Revolution

Overview

The convergence of still photography and high-definition video recording in DSLR cameras fundamentally transformed underwater imaging beginning in late 2008. For the first time, photographers could capture professional-quality stills and HD video with a single camera body in a single housing, eliminating the need to choose between a still camera system and a dedicated video rig. The term “ViDSLR” was coined by Wetpixel associate editor Drew Wong in May 2009 to describe this new hybrid camera category. (^[1])

The revolution reshaped the underwater imaging industry in multiple ways: it created massive new demand for continuous video lighting, forced housing manufacturers to rethink ergonomics around live view and manual focus, accelerated the decline of dedicated consumer and prosumer video cameras underwater, and ultimately paved the way for the later mirrorless revolution.

Predecessors: The dedicated video era (2005—2008)

Before DSLRs gained video capability, HD video underwater required dedicated camcorders from Sony, Canon, JVC, and Panasonic in specialized video housings from Gates Underwater Products, Light & Motion, Amphibico, and others. This market thrived from roughly 2005 to 2009 with products like the Sony FX1/Z1U, Canon HV10/XH G1, Sony PMW-EX1, and Panasonic DVCPROHD cameras. (^[2])

Light & Motion’s Bluefin and Stingray HD housing lines were popular among enthusiast and professional videographers, while Gates dominated the high-end broadcast and cinema housing market. (^[3]) (^[4])

These dedicated video systems offered advantages that DSLRs would struggle to match: par-focal zoom lenses, built-in image stabilization, XLR audio inputs, proper timecode, and purpose-built ergonomics. As filmmaker Jonathan Bird later noted, “at least 95% of BBC’s Planet Earth and Blue Planet series were shot with small sensor pro video cameras, mostly Panasonic DVCPROHD.” (^[5])

Underwater video lighting in this era relied on bulky, power-hungry halogen and HID lights with limited burn times. Steve Douglas noted that “in the old days, underwater video lights barely reached 3000 degrees Kelvin and even the most expensive lights burned at only 3400K” with burn times of “barely 25 minutes.” (^[6])

Key milestones

2008: The beginning

• August 5, 2008: Olympus and Panasonic announce the Micro Four Thirds standard, removing the mirror from Four Thirds cameras. Eric Cheng immediately recognized the underwater implications, writing: “A large sensor in a small package will allow us to maintain low noise in images while minimizing the size of a housed camera!” This format would later become a dominant platform for underwater video. (^[7])

• August 29, 2008: Nikon announces the D90, the first DSLR capable of shooting video. Video was limited to 720p HD with a 5-minute recording limit, but it proved the concept was viable. Eric Cheng noted it was “still unclear whether the D90 will fit into any existing underwater housings.” Forum member timrock quickly determined the body dimensions were similar to the D80, suggesting compatibility with existing Ikelite housings. (^[8])

• September 17, 2008: Canon announces the EOS 5D Mark II with a 21-megapixel full-frame sensor and full 1080p HD video recording with H.264 compression and sound — the true catalyst for the revolution. Priced at $2,699, the camera immediately generated excitement in the underwater community, with photographers “hopeful that the camera will fit into existing 5D housings.” (^[9])

2009: Rapid adoption and the “ViDSLR” era

• February 2009: Aquatica announces housings for both the Canon 5D Mark II and Nikon D90, among the first manufacturers to respond to the new hybrid cameras. (^[10]) Sea & Sea follows with the MDX-5D MkII housing. (^[11])

• February 2009: Gates Underwater Products previews its housing for the RED ONE digital cinema camera, signaling the parallel high-end digital cinema movement. The housing was described as “truly the best of the best in underwater video housings.” (^[12])

• March 2009: Seacam previews its 5D Mark II housing in the Wetpixel forums, generating significant community interest. (^[13])

• May 2009: Wetpixel member Fergus Kennedy (forum name “Ferg42”) posts the first known underwater video shot with a Canon 5D Mark II, filmed in the Egyptian Red Sea. He used an Ikelite housing converted from the original 5D, mostly with a 15mm fisheye lens and natural light with a Magic Filter. The video demonstrated the cinematic potential of the full-frame sensor underwater. (^[14])

• May 2009: Berkley White of Backscatter publishes shooting tips for underwater 5D Mark II video, acknowledging the camera’s limitations while expressing optimism: “Despite the 5DmkII’s lack of full video control, I believe we’re about to see some amazing video shot this summer… especially by photographers. The limited controls and lens selection will shape a whole new look in video.” White noted critical challenges for underwater use: autofocus in live view was “slow at best and can be downright impossible on moving subjects,” auto exposure was “jumpy,” and underwater wide-angle optics required shooting at f/8 or higher, reducing the shallow depth-of-field advantage that made the camera popular topside. (^[15])

• May 2009: Canon releases firmware adding manual video exposure controls for the 5D Mark II, including shutter, aperture, and ISO control. Drew Wong wrote that this “removes the biggest criticism of the camera and enhances the camera’s standing as the premiere 1080P HD DSLR camera.” The lack of manual exposure control had been the subject of “online petitions and unrelenting customer inquiries.” (^[16])

• May 2009: Panasonic releases the DMC-GH1 with full manual HD video controls and continuous recording, breaking “two of the biggest criticisms of the new hybrid camera category.” Drew Wong’s article titled it as continuing “the ViDSLR revolution,” coining the term that the community adopted. Forum commenter Andrej Belic predicted it “might lead to a new revolution in photo and video SLR.” (^[17])

• May 2009: Fisheye releases the FIX LED1000DX and LED500DX, early LED focus/video lights marketed as “valuable tools for both still photo and video shooters” with wide, even beams “ideal for video applications.” These represented the beginning of a new category of compact, powerful LED lights driven by DSLR video demand. (^[18])

• May 2009: Drew Wong starts a forum thread on “Housing considerations for video on the ViDSLR,” identifying critical gaps in how housing manufacturers approached the new hybrid cameras. He discovered that most 5D Mark II housings (Aquatica, Sea & Sea, Zillion, Hugyfot, Subal) offered only a single knob for zoom or focus but not both simultaneously — a major limitation for video shooters who needed manual focus. Only the Seacam had dual independent knobs. Wong also noted his contact at Canon’s video division was “complaining the 5D2 is eating into his video sales, especially the X series.” (^[19])

• May 2009: Zillion releases its Canon 5D Mark II underwater housing. (^[20])

• July 2009: DiveFilm HD Podcast features underwater footage shot by Backscatter’s Jim Decker and Russ Sanoian on the Canon 5D Mark II. DiveFilm’s Mary Lynn Price said: “I am just so impressed by the HD footage possible with this DSLR, I’m fighting hard not to take the leap to this cam!” (^[21])

• August 2009: Backscatter publishes a comprehensive review of the Canon 5D Mark II as an underwater video rig, which Eric Cheng described as “incredibly comprehensive” and essential reading for “anyone even remotely interested in using any SLR to shoot video underwater.” (^[22])

2010: Maturation and workflow challenges

• February 2010: Howard Hall, legendary IMAX filmmaker, takes a Gates DEEP RED system (housing the RED ONE 4K camera) to the Maldives. His trip report and frame grabs demonstrated the potential of 4K digital cinema underwater, operating alongside but above the DSLR video tier. (^[23])

• February 2010: Watershot Inc releases its housing for the Canon 5D Mark II, featuring “sleek and compact design” with “attention to detail applied to both the ergonomics of still and video shooting,” reflecting how manufacturers were increasingly designing for dual-use. (^[24])

• March 2010: Canon releases firmware 2.0.3 for the 5D Mark II, adding 24p and 25p frame rates, matching television production standards with 29.97 fps for 30p, manual audio levels, and a histogram display during video capture. Sterling Zumbrunn wrote that “the 5D Mark II helped spark a revolution in video acquisition using SLRs, and this firmware update represents an important step forward in harnessing that capability,” while noting the absence of 720/60p “no doubt due to a limitation in the original hardware.” (^[25]) A revised firmware 2.0.4 followed shortly to fix an audio bug. (^[26])

• March 2010: Eric Cheng highlights a practical workflow challenge: Final Cut Pro had a long-standing bug that prevented it from properly trimming video clips lacking timecode, which affected all DSLR video clips. Forum moderator Shawn Heinrichs discovered the workaround. (^[27])

• March—April 2010: Howard Hall’s Maldives RED ONE footage, posted as a 4-minute compilation, generates intense community discussion with dozens of forum comments and article comments debating image quality, lens choice, and expectations for 4K digital cinema underwater. Eric Cheng noted it was “simply a show reel from one trip,” not a polished production. (^[28])

• April 2010: Community discussion explores Canon 7D video ISO sweet spots, revealing that video noise was significantly reduced when shooting at ISO multiples of 160 (the “native” ISO of Canon CMOS sensors). This kind of technical deep-dive illustrated how the still photography community was rapidly learning video-specific techniques. (^[29])

• May 2010: Light & Motion releases the SOLA 600, a compact LED imaging light producing 679 lumens with up to 75 minutes burn time, designed for use with “all imaging systems, from compact cameras to video housings.” The SOLA line became one of the most successful product families born from the DSLR video revolution. (^[30])

• June 2010: Steve Douglas publishes a comprehensive underwater videography tutorial on Wetpixel, noting the transformative impact of LED lighting: Light & Motion’s Sunray lights offered “multiple output levels which makes switching from a macro shot to a wide angle shot much easier” compared to earlier generation HID lights. (^[31])

2011: LED lighting explosion and RED goes underwater

• January 2011: Gates releases the VL24 video lights, and Keldan increases output on its Luna 8 CRI light, reflecting the rapid advancement in underwater LED video lighting driven by DSLR video demand. (^[32]) (^[33])

• March 2011: Hands-on coverage of the RED EPIC-M, a $58,000 camera offering dynamic range exceeding 13 stops (extendable to 18) and resolution surpassing 35mm motion picture film. (^[34])

• July 2011: Adam Hanlon reviews the Light & Motion SOLA 600 and iTorch Pro 3 focus lights, noting that “the video capability of many SLRs has produced an additional demand for video light capability.” The review demonstrated how the DSLR video revolution had created an entirely new product category of compact, dual-purpose focus/video lights. (^[35])

2012: Second generation and super macro video

• January 2012: Wetpixel member David Cheung acquires a RED EPIC M in a Gates Deep Epic housing, taking it to Truk Lagoon. The system accepted both RED PL and Canon EF lenses, bridging the DSLR and cinema camera worlds. (^[36]) RED Scarlet X begins shipping at $9,750, bringing 4K capability to a more accessible price point. (^[37])

• March 2012: Canon announces the 5D Mark III, explicitly acknowledging the revolution its predecessor started. Canon’s press release stated: “The EOS 5D Mark II blazed the trail for EOS cameras and Canon to enter the professional video and cinema markets, paving the way for Canon’s recent introduction of the Cinema EOS system.” The Mark III added SMPTE-compliant timecode, ALL-I and IPB compression, reduced moire and aliasing, a built-in headphone jack for audio monitoring, and continuous recording up to 29 minutes 59 seconds. (^[38])

• March 2012: Extraordinary super macro SLR video shot by Wetpixel member EunJae Im in Lembeh, Indonesia, demonstrates the creative possibilities of DSLR video for macro subjects. Shot on a Canon 7D with a SubSee +10 diopter, SOLA lights, and a SmallHD monitor in a Nauticam housing, the footage of hairy shrimps “no bigger than a grain of rice” was called “extraordinary” and “incredible” by the community. (^[39])

2013—2014: The 4K transition

• January 2013: Sony embraces 4K at CES, showcasing a prototype 4K consumer camcorder and the HXR-IFR5 interface unit. This signaled the coming transition from HD to 4K that would reshape both the DSLR and dedicated video camera markets. (^[40])

• December 2013: Gates announces the DEEP DRAGON housing for the RED EPIC DRAGON, bringing 6K digital cinema underwater with “more than 16 stops of dynamic range and native 2000 ISO.” The housing supported over 70 PL-mount cinema and DSLR lenses and shipped at $18,280. (^[41])

• 2014: The Panasonic GH4 brings 4K video to the Micro Four Thirds format at a consumer price point, with Nauticam and Subal quickly announcing housings. (^[42])

2015 and beyond: Reassessment

• February 2015: Filmmaker Jonathan Bird publishes “Choose your weapon: SLR versus video cameras for filmmaking” on Wetpixel, arguing that the DSLR’s time as a primary video tool had passed. Bird identified persistent shortcomings: poor audio interfaces, non-parfocal zoom lenses, awkward video ergonomics, and moire/aliasing from line-skipping sensor readout. He noted that “several reasonably-priced large sensor cinema cameras” (Sony FS100, Panasonic AF100, Sony FS7) now addressed all DSLR shortcomings. For underwater use specifically, Bird argued DSLRs were even worse due to focus difficulties with large sensors, poor corner sharpness behind dome ports, inability to use flip filters for white balance, and lack of image stabilization. He concluded: “The only argument for a DSLR as an underwater video camera that makes any sense is for the person who is primarily a still photographer who wants to occasionally shoot a little video.” (^[43])

• The Panasonic GH series (GH2 through GH5) continued evolving as the dominant hybrid camera for underwater video, leveraging the smaller Micro Four Thirds sensor that actually proved advantageous underwater — better corner sharpness behind dome ports, greater depth of field for easier focusing, and compact housing size. (^[44])

Impact on the underwater imaging industry

Housing design revolution

The DSLR video revolution forced fundamental changes in underwater housing design. Drew Wong’s 2009 analysis revealed that most early DSLR housings were designed primarily for still photography and lacked critical video features. Key issues included:

• Manual focus and zoom controls: Most housings offered only a single control knob, requiring videographers to choose between focus and zoom. Only Seacam initially offered dual independent knobs. (^[45])
• LCD viewing: Housing LCD windows created reflections that made live view difficult; shades and boots were needed but not initially offered. (^[46])
• Hydrophone integration: While some manufacturers added optional hydrophone ports, most did not address audio recording needs. (^[47])
• External monitors: Nauticam pioneered the integration of external monitors (like the SmallHD) into housing systems, dramatically improving focus accuracy for video. (^[48])

Birth of the LED video light market

The DSLR video revolution catalyzed a massive expansion of compact, powerful LED video lights. Key products included:

• Fisheye FIX LED series (2009): Among the first LED lights marketed for both still and video use. (^[49])
• Light & Motion SOLA series (2010): The SOLA 600 became a benchmark product, followed by the SOLA 2000 in 2012. (^[50])
• Keldan Luna series: High-CRI LED lights designed specifically for video, advancing color accuracy beyond earlier HID technology. (^[51])
• Gates VL series: Purpose-built video lights from the leading cinema housing manufacturer. (^[52])

Disruption of the video camera market

The revolution had a devastating impact on dedicated consumer and prosumer video cameras underwater. As Jonathan Bird observed: “The semi-pro ‘advanced amateur’ video camera has nearly died in underwater video. Amateurs are now happy to shoot video with a GoPro or the video mode on their point and shoot… Pros have switched to the RED, the Sony F55, or perhaps the PMW-200 or Z100 pro camcorders… What has happened is that the ‘advanced amateur’ video shooter has become a bit of an endangered species.” (^[53])

Drew Wong confirmed this disruption as early as 2009, noting his contact at Canon’s video division was “complaining the 5D2 is eating into his video sales.” (^[54])

New workflow challenges

DSLR video introduced workflow challenges unfamiliar to both still photographers and traditional videographers:

• Codec complexity: The Canon 5D Mark II recorded in H.264 long-GOP compression at 40 Mbps, which required transcoding to Apple ProRes, Cineform, or DNxHD for professional editing. Community member bearaway noted on the Wetpixel forums that H.264 “is a very resource intensive format for both encoding and decoding… and is absolutely not appropriate for editing purposes.” (^[55])
• Missing timecode: DSLR video clips lacked timecode, causing bugs in Final Cut Pro that prevented proper trimming. Shawn Heinrichs discovered a workaround that was widely shared. (^[56])
• Focus techniques: Drew Wong explained in the forums that most videographers used manual focus to prevent autofocus hunting, a technique unfamiliar to still photographers accustomed to AF. (^[57])

Legacy

The DSLR video revolution lasted roughly from 2008 to 2015 as a dominant trend before being succeeded by two parallel developments:

1. The mirrorless revolution: Cameras like the Panasonic GH series, Sony a7 series, and later the Canon R5 inherited and refined the hybrid photo/video concept with superior autofocus, in-body image stabilization, and purpose-designed video features.

2. Accessible digital cinema cameras: Purpose-built cinema cameras like the Blackmagic Pocket Cinema Camera and Sony FS series brought large-sensor cinema quality at accessible prices, addressing the DSLR’s shortcomings for dedicated video work.

The DSLR video revolution’s most lasting impact was cultural rather than technological: it permanently merged the identities of underwater photographer and underwater videographer. After 2008, the question was no longer “do you shoot stills or video?” but rather “how much video do you shoot alongside your stills?” This shift fundamentally changed how housing manufacturers designed products, how dive resorts marketed photo workshops, and how the Wetpixel community organized its forums and content.

Community Discussion

The Wetpixel forums hosted extensive discussion about DSLR video, reflecting the community’s rapid adaptation:

• “DSLR Video Resources” (January 2009, 5 replies) — Early community thread seeking resources for video-challenged still photographers. Drew Wong argued the fundamentals were unchanged: “keep steady and expose and focus properly.” He cautioned against premature adoption, noting DSLR video had “big sensor (DOF and better light sensitivity) with slow subsampling so there’s plenty of CMOS skew, no continuous AF and very minimal control.” (^[58])

• “Housing considerations for video on the ViDSLR” (May 2009, 15 replies) — Drew Wong’s influential analysis of housing design gaps. Community members debated whether manufacturers had “underestimated the market in the rush to produce something.” (^[59])

• “Backscatter reviews the 5D Mark II as a video rig” (August 2009, 15 replies) — Eric Cheng posted Backscatter’s comprehensive review, calling it essential reading. The discussion revealed the technical complexity of H.264 workflows and the learning curve facing still photographers. (^[60])

Timeline

• 2008-08: Micro Four Thirds standard announced (^[61])
• 2008-08: Nikon D90 announced as first DSLR with video (^[62])
• 2008-09: Canon 5D Mark II announced with 1080p video (^[63])
• 2009-02: First 5D Mark II housings announced (Aquatica, Sea & Sea) (^[64])
• 2009-02: Gates previews RED ONE underwater housing (^[65])
• 2009-05: First underwater 5D Mark II video by Fergus Kennedy (^[66])
• 2009-05: Canon adds manual video exposure controls via firmware (^[67])
• 2009-05: Panasonic GH1 released; “ViDSLR” term coined (^[68])
• 2009-05: Fisheye FIX LED lights bridge photo/video gap (^[69])
• 2010-02: Howard Hall takes RED ONE to the Maldives (^[70])
• 2010-03: Canon 5D Mark II firmware 2.0.3 adds 24p, manual audio (^[71])
• 2010-05: Light & Motion SOLA 600 released (^[72])
• 2011-03: RED EPIC-M hands-on coverage (^[73])
• 2012-01: RED Scarlet X ships at $9,750 (^[74])
• 2012-03: Canon 5D Mark III announced with enhanced video (^[75])
• 2012-03: EunJae Im shoots super macro SLR video in Lembeh (^[76])
• 2013-01: Sony embraces 4K at CES (^[77])
• 2013-12: Gates DEEP DRAGON brings 6K underwater (^[78])
• 2015-02: Jonathan Bird’s “Choose your weapon” reassessment (^[79])

References