The season finale of the Fox series House marked the first episode of a primetime network drama shot entirely with digital SLR cameras. The rapid ascent of the DSLR camera in virtually every production mode has spawned products ranging from camera rigs to matte boxes to audio solutions. Critical to effective production use of the DSLR is selecting the proper lens for the given scenario. Those options range from manufacturer's optics to high-end glass.

• Gale Tattersall, Director of Photography, House "Help Me," Jon Silberg, Videography, May 17, 2010

Canon EOS 5D
The Canon EOS 5D Mark II with its full-frame sensor and the Canon EOS 7D with APS-C sensor are becoming the go-to cameras for DSLR-video shooters, with the Panasonic Lumix DMC-GH1K Micro Four Thirds camera also attracting a following. Current Nikon models are limited to 720p, restricting their use where full 1080 is needed.

Both Canon and Nikon cameras are traditional SLR cameras in the sense that they have mirrors, while the Panasonic is mirror-less. The presence or absence of a mirror will impact the range of third-party lens mounts the camera can accept. That will become apparent in the discussion of the various lens options available to the DSLR operator. Canon and Nikon cameras require the removal of the camera's mirror in order to accept an adapter to PL mount. The mirror-less Panasonic requires only an adapter, making it the easiest DSLR to utilize with PL mounts.

Thales Angenieux
The 2010 NAB Show saw the introduction of Canon EF and Nikon F-mount adapters for Angenieux Optimo 15-40, 28-76 and 24-290 zoom lenses. These adapters replace the standard PL mount to provide precise flange alignment. By adapting to the camera's native lens mount, there is no need to modify the camera. These specific Angenieux zooms are used extensively in film and video production and up to this point had been available only in Panavision or PL mount.

"With the release of these mounts, we are addressing the latest trend in the film community that allows cinematographers to use our high-end cine optics on DSLR cameras," says Chris Beauparlant, vice president, U.S. sales and marketing, Thales Angenieux. The entry of Angenieux into the DSLR market truly shows the significance of this genre of highly portable and versatile format for serious video and cinema production.

Zeiss Compact Prime CP.2
Also at NAB, Zeiss announced the CP.2 line of prime lenses with interchangeable PL, EF or F mounts. The choices are extensive, with offerings in 18, 21, 25, 28, 35, 50, 85 and 100, as well as a 50mm macro. They maintain maximum apertures of T2.1 to T3.5 across the line, with the widest lens (18mm) at T3.5 and the 21mm and 25mm glass at T2.9. The lenses offer a long focus throw, rugged construction, calibrated lens scales, and a consistent front size that allows the interchange of filters and attachments.

DSLR shooters tend not to use zoom shots, in great measure because of the rolling shutter effect that plagues improperly shot DSLR footage. Instead, DSLR DPs make far greater use of primes. CP.2 lenses are available now for $3,900 per lens with one adapter and $390 for additional adapters.

Fujinon
At NAB 2010, Fujinon announced the addition of two lenses to the Fujinon PL zoom family. "There is a lot of excitement about Fujinon's new PL zooms because of their speed, ranges and optical quality," says Chuck Lee, Fujinon technology manager. "Feedback from early users of the PL Series has been enthusiastic. All have been impressed with their low-light capabilities, consistent performance, and close color match to industry-leading prime lenses."

Indeed, a product line that includes 24-180mm, 14.5-45mm, 18-55mm and 75-400mm can provide tremendous versatility while maintaining high quality. As would be expected in a lens family, all four lenses are matched optically.

Schneider-Kreuznach
Schneider-Kreuznach offers 18, 25, 35, 50, 75 and 95mm prime lenses with a choice of EF, PL or F mounts. The complete set is priced at under $25,000; lenses are also available separately for around $4,000. While mounts are interchangeable, they are not user-interchangeable; lenses must be returned to depot for reconfiguration. What distinguishes the Schneider-Kreuznach line is ultra-close focus, an 18-blade iris and low-distortion glass. Schneider promises additional focal lengths in the coming months.

Manufacturer's Lines
Canon and Nikon optics have been the mainstay of professional photographers for generations. Yuichi Ishizuka, Canon USA executive vice president and general manager, Consumer Imaging Group, notes that the House episode was not only shot entirely with the Canon EOS 5D Mk II, it was shot with Canon EF lenses.

Indeed, with its new emphasis on DSLR production, Canon specifically gears its EF line for full-frame 5D Mk II or its EF-S line for the smaller APS-C sensor found in the 7D (and its smaller sibling, the Rebel EOS T2i). A strong consideration in this series of lenses is the availability of IS (image stabilization) lenses, which provide electronic stabilization making handheld shots considerably more stable. IS can also be turned off on these lenses.

Alexander Buono, a DP at Saturday Night Live, chose both Canon 5D Mk II and Canon 7D bodies with Canon lenses to shoot the show's opening scenes. The portability afforded by smaller and more light-sensitive cameras enabled remote shots with far less crew, less setup time, not to mention the ability to position and shoot talent in New York City without attracting undue crowds.

• SNL Open Captured with Canon DSLRs, Videography, Dec. 22, 2009

The DSLR already offers new versatility in production. The range of lenses available will scale these cameras to the level of quality required for nearly any production.