[videoblogging] Re: What kind of Pro camera should I get?
Hi Jay. I've been using the Panasonic HVX200 for a few months and I highly recommend it. For starters the broadcasters I've been working with won't accept HDV as a Hi-Def format. HDV can be a nightmare to edit (especially if you try to hi-res a low-res offline – major sync problems). The HVX200 can shoot DV (tape) and as you probably know records HD to the P2 card. Lately though my projects have been in-studio and I've been recording 720p through a 15m firewire directly to FC Pro. I've gotten so used to the workflow that I consider it a hassle to digitize tape. Yes the P2 cards are stupidly expensive but I've avoided buying one so far preferring to rent either a P2 card or Firestore drive. Tony Yahoo! Groups Links * To visit your group on the web, go to: http://groups.yahoo.com/group/videoblogging/ * Your email settings: Individual Email | Traditional * To change settings online go to: http://groups.yahoo.com/group/videoblogging/join (Yahoo! ID required) * To change settings via email: mailto:[EMAIL PROTECTED] mailto:[EMAIL PROTECTED] * To unsubscribe from this group, send an email to: [EMAIL PROTECTED] * Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/
[videoblogging] Re: What kind of Pro camera should I get?
--- In videoblogging@yahoogroups.com, Jay dedman [EMAIL PROTECTED] wrote: And I left out my summary: assuming 24P is necessary: Best value: Panasonic DVX100 (but doesn't do HD) Best HD option under 10k: Panasonic HVX-200 Best Professional HDV for the money: Canon XH-A1 Best Consumer HDV: Canon HV20 Best Consumer DV: Sony's cheapos still have the picture quality edge, while Panasonic's have the interface/ergonomics edge. Thanks Brook. Ryanne and I have also been in the market for a new HD camera for our professional work. I am no expert, but what I crave is a bigger lens. The smaller, consumer HD cameras look very very good.but for the money, I think its the big wide lens that does it for me. Also, I want XLR adapters. I like your rules as well. A pro can make any camera bend to his will. If you need it, just get it. And if you get, use it right away and often. Is anyone here shooting in HD now? if so, list some links. jay -- http://jaydedman.com 917 371 6790 Video: http://ryanishungry.com Twitter: http://twitter.com/jaydedman Photos: http://flickr.com/photos/jaydedman/ RSS: http://tinyurl.com/yqgdt9 Just bought a Canon HV20. PAL version. Quite an incredible camera for the price. About to start experimenting with it. Shooting in HDV Cinemode 25fp. I have an old CANON WC-DC58 0.8X wide converter lens which used to go on my old Canon G2 [ http://www.dpreview.com/reviews/canong2/ ] digital still camera via an adaptor. I've managed to attached this wide lens to the HV20 via two step-up rings: 43mm-49mm and 49mm-58mm. Seems to work fine without any vignetting. I know people are attaching nikon lenses to these cameras with good results via adaptors: http://www.hv20.com/showthread.php?t=2825. (I'm wondering if the image is upside down, though?) Soon as I have some footage I'll post links.
[videoblogging] Re: What kind of Pro camera should I get?
--- In videoblogging@yahoogroups.com, Jay dedman [EMAIL PROTECTED] wrote: Ryanne and I have also been in the market for a new HD camera for our professional work. I am no expert, but what I crave is a bigger lens. The smaller, consumer HD cameras look very very good.but for the money, I think its the big wide lens that does it for me. Also, I want XLR adapters. There's a lot of discussion about the tech specs of a whole bunch of HD cameras, but how well suited are they to hand-held shooting? It's a step down in quality from some of the cameras mentioned, but I'd like to know more about the Sony HD1000 that rests on the shoulder. Particularly with a Beachtek DXA Phantom power adapter for XLR mics and a wide angle adapter (probably .70). Funny thing is that they are touted as good for wedding and event videographers who want to look pro but little is said about the look of their hand-held shooting over the course of a day. The price is right as the camera itself sells for $1,900 now. Stan Hirson http://hestakaup.com
Re: [videoblogging] Re: What kind of Pro camera should I get?
For a few more cents worth I use a Sony Z1, which definitely has both good points and bad points. I have used a panasonic P-2 which I found to be absolutely great in good light, but goes to mud very quickly... I did not find it to be a good low light camera. I am watching the new Sony that is due out shortly. Both it and the new Panasonic out soon supposedly will use a new GOP that is intraframe rather than interframe compression. The new Sony will have interchangable lenses as well as overcranking and undercranking and multiple frame rates. Supposedly it will also be able to record in HD on tape and to a SD card at the same time. Price point is to be around 8,000 OK here comes the disclaimer.I have not seen the camera-have only 'heard' about it. Just food for thought. Susan On 12/14/07, Stan Hirson, Sarah Jones [EMAIL PROTECTED] wrote: --- In videoblogging@yahoogroups.com, Jay dedman [EMAIL PROTECTED] wrote: Ryanne and I have also been in the market for a new HD camera for our professional work. I am no expert, but what I crave is a bigger lens. The smaller, consumer HD cameras look very very good.but for the money, I think its the big wide lens that does it for me. Also, I want XLR adapters. There's a lot of discussion about the tech specs of a whole bunch of HD cameras, but how well suited are they to hand-held shooting? It's a step down in quality from some of the cameras mentioned, but I'd like to know more about the Sony HD1000 that rests on the shoulder. Particularly with a Beachtek DXA Phantom power adapter for XLR mics and a wide angle adapter (probably .70). Funny thing is that they are touted as good for wedding and event videographers who want to look pro but little is said about the look of their hand-held shooting over the course of a day. The price is right as the camera itself sells for $1,900 now. Stan Hirson http://hestakaup.com
Re: [videoblogging] Re: What kind of Pro camera should I get?
Brook writes: Personally, I would still choose an HVX over the EX1 because of the long GOP issue (though I haven't used an EX1 yet so we'll see). But I'm not rushing out to buy either. I'm renting til the field stablizes or my production schedule gets heavier. I'm a big fan of the HVX and will continue to be so, however, the long GOP is not really that much of an issue in post if you capture to a format like the Apple Intermediate Codec (for Final Cut Pro users on a Mac, I'm sure there's an equivalent in Windowsland) that is all I-frames. Yes, with the Apple Intermediate Codec you lose the timecode reference back to the original tapes, so it becomes like shooting with P2, you have to back up your media, you can't rely on the tape as back up (unless you're willing to do a painful manual conform). I'm sure Panasonic will have a follow-up to the HVX to show at NAB this year, they really have to on the heels of XDCAM EX, the HVX is looking long in the tooth, but it's still my favorite camera under $10K. David. David Tames | http://Kino-Eye.com | 617 216 1096
[videoblogging] Re: What kind of Pro camera should I get?
Hi Heath, The new Sony XDCAM EX1 is what I would recommend. For low light, a bigger sensor is better, so the EX1 has a 1/2 inch sensor compared to most 1/3 sensor cameras. It records onto Express Cards but Sony's variation called Sxs. They are talking about allowing any Express Cards. Express cards are pretty cool, they connect directly to the computer versus P2 and Compact Flash that have to go through bus cable. It records all kinds of variable rates. The lens is AWESOME. This is the camera I am getting after holding out for almost 6 years. I don't need the RED power but I need this. The only drawback is that it records in XDCAM which like HDV records in long GOP. I have had no problems with this in all the times i have used a HDV camera. BTW, XDCAM is pro version of HDV. The EX1 uses a new variation Currently, there is support for it in Final Cut Pro and Vegas. I think Canopus (spelling?) also has support. But there should be even more support once it gets popular. The camera is hitting the streets. The footage coming out of this camera is pretty cool. Have fun. Ajit http://squigglebooth.com --- In videoblogging@yahoogroups.com, Heath [EMAIL PROTECTED] wrote: I am looking at upgrading my camera and in a big way. As some of you may know I have been starting to have people come to me to video stuff. And while the camera I have has been able to do that, it won't get me to where I need to be. SoI am looking at upgrading. I know quite a few on this list who are using pro or prosumer cameras, so I am looking for practicial advise and recomendations. I need something that will be good in low light, have some manual controls, external sound, etc. I also want to be able to use this camera to shoot weddings, local events, short films, etc. Like I said, I know the camera I have can do most of what I want to do, but it doesn't do all and I want a camera I can grow with, the ability to shoot in low light and the external lighting ablility along with being able to shoot in 24p are the big things. So, Jay, Ryanne, Bill, David, Rupert, Cheryl and anyone else who has knowledge let me know what you thinkand if anyone uses a paticular camera let me know... Thanks! Heath http://batmangeek.com
Re: [videoblogging] Re: What kind of Pro camera should I get?
Just a data point: some of us HAVE had serious problems with long-GOP compression in HDV. But again, it all depends on what sort of work you do. Worth noting that the high quality 24P setting on the EX1 uses an extra 10 mb/s of bandwidth in addition to a slightly smaller GOP, which should make those blockies and fuzzies a little less problematic. The EX1 is interesting. AT its price point its really competing with the HVX - once you add the cards its significantly more expensive than an XH-A1. The 1/2 inch sensor is a plus but it's still a far cry from the 2/3 inch sensors on high end cameras. Low light performance is about a stop better than than the HVX. Another thing to note: i uses CMOS chips, like the HV20 and the lower end Sony HDVs (and, for that matter, the RED). These use a rolling shutter, which can result in distortion when things are moving quickly across the frame. I actually LIKE this distortion - it feels somewhat organic, like an exagerration of the rotating shutter in a film camera - but some pros are leery of it. A lot of work is going intoimproving this in the RED camera. I don't know what sort of implementation Sony is using but if its a concern you should check on it. Again, I LIKE the look of CMOS, including the rolling shutter, so for me its almost a plus. (you can see a greatly exagerrated version of the rolling shutter effect on cel phone video cams like the Nokia N93 - it's nowhere NEAR that level of distortion on pro/semi pro cams though). Personally, I would still choose an HVX over the EX1 because of the long GOP issue (though I haven't used an EX1 yet so we'll see). But I'm not rushing out to buy either. I'm renting til the field stablizes or my production schedule gets heavier. Brook Brook Hinton film/video/audio art www.brookhinton.com studio vlog/blog: www.brookhinton.com/temporalab
[videoblogging] Re: What kind of Pro camera should I get?
Hello Heath, depends on what type of video you want to shoot? Standard definition or HD. . . For my money, I love my Canon GL2. At the time, it had the mosdt powerful optic zoom (20X) that allows me to put myself on-stage from the back section of an auditorium during a recital, cantata, or play. It individual audio controls for each channel of its audio tracks. I am very satisfied with it - the only drawback. Does not do well in low light - not as well as a Sony, perhaps - but it does have great range to dim situations. I've filmed during the active part of a dance concert using the exposure control on the camera. . . with a dark result that would be expected under any dance concert performance. If you're looking for HD, I'm certain you'll get comments from others before long. When I go looking for one myself, I think I'll stay in the Canon family; the GL2 is a great quality product for the price; so I would pay a little more for sticking with the Canon family, no doubt. Until that time. . . Earl J. --- In videoblogging@yahoogroups.com, Heath [EMAIL PROTECTED] wrote: So, Jay, Ryanne, Bill, David, Rupert, Cheryl and anyone else who has knowledge let me know what you thinkand if anyone uses a paticular camera let me know... Thanks! Heath http://batmangeek.com
[videoblogging] Re: What kind of Pro camera should I get?
Interestingly enough, I'm suddenly interested in getting a new camera! :D I had been gearing up to get a control surface for Final Cut's Color application, but I found out that a Wacom Intuos tablet makes me as fast as I want to be right now, so suddenly, that's a couple of Gs I don't have to spend. Meanwhile, I'm planning a new video project which would definitely benefit from being shot on a nice camera. The camera would be used for continuous 'work', so yes, it would pay for itself pretty quickly. I just witnessed the beauty of video from the HVX200 on Jackson West's shoot for his NYU film. I'm very impressed with how that camera captures mood and really kind of makes the scene what it's supposed to be, right out of the camera. OTOH, I've REALLY been liking http://GeekBrief.tv ever since they switched cameras to the Canon XH-A1. Their colors are REALLY punchy, and the show just has this really great look and 'feel' to it. That could very well be because of sweetening in post, but you have to start with a great image with lots of definition to begin with. The GeekBrief setup is here = http://www.geekbrief.tv/about/credits According to BH, the base sticker prices on the two are: Canon HX-A1 - $3,049 http://www.bhphotovideo.com/c/product/447098-REG/Canon_1191B001_XH_A1_3CCD_HDV_Camcorder.html Panasonic AG-HVX200 - $5,199 http://www.bhphotovideo.com/c/product/381410-REG/Panasonic_AG_HVX200_AG_HVX200_3_CCD_HD_Format.html Then, with the Panasonic, you have to keep on spending for P2 cards or a Firestore, so it's basically well over double the price of the Canon. Of course, none of this makes any difference whatsoever if you're 'just' going to be using the video for iPod-compatible-compressed videos. However, with what groups like http://pandonetworks.com/ are doing at this point, and the entry of highly-funded pro teams working on sites like http://quarterlife.com , I don't think it's going to be very long before HD over the net becomes pretty routine. I think it's better to make HD content *now* and let the delivery technology catch up with US. Anybody with experience with either/both of these cameras have any opinions as far as which one they would get if the business was going to pay for the camera anyway? -- Bill Cammack CammackMediaGroup.com --- In videoblogging@yahoogroups.com, Brook Hinton [EMAIL PROTECTED] wrote: Among the typos I left this out - despite the hubbub about the HVX200's 540 line resolving power, everyone I know feels it holds up to HDCam and even film outpt as well or better than its HDV equivalents. Resolution isn't everything by a long shot. Also be warned that the fake 24P on some of the Sony cameras can NOT be treated as 24P in post and looks really really wonky. And I left out my summary: assuming 24P is necessary: Best value: Panasonic DVX100 (but doesn't do HD) Best HD option under 10k: Panasonic HVX-200 Best Professional HDV for the money: Canon XH-A1 Best Consumer HDV: Canon HV20 Best Consumer DV: Sony's cheapos still have the picture quality edge, while Panasonic's have the interface/ergonomics edge. Brook On 12/9/07, Brook Hinton [EMAIL PROTECTED] wrote: Warning - long response. First - if you have a good rental house nearby I would strongly consider renting for your for-hire work unitl you get a good sense of what cameras you like and how their workflow works out for you. That's what I'm doing right now - there's still a lot of upheaval in the low to mid end HD production field and things will keep changing rapidly. The fallout from the introduction of the RED camera is going to change things drastically. That said, here's my take on the sub-10k cams I'm familiar with. You'll note very little Sony or JVC mentioned - I used to favor Sony's stuff, but they've fallen way behind in this field in my view. JVC makes some very interesting midrange cameras, but I am leery of their For 24P in standard def/DV you are pretty much limited to the absolutely excellent Panasonic DVX100 (or its more expensive big brother, the HVX200, which also does HD once you add pricey P2 cards - see below). For pro for-hire work I still try to avoid HDV except for projects that are primarily interviews or other material that won't have a lot of motion. The Canon HDV stuff does a better job than the other brands on avoiding motion artifacts and blocking it seems, but you're going to be delivering on DVD, h.264 files or an HD DVD / Blu-Ray pretty soon for many clients, which means putting that long-GOP mpeg2 transport HDV stream through not only color correction and whatever other image processing and compositing but ANOTHER pass of temporal compression. That said, I know others who are using the the higher end Sony and Canon HDV cameras for professional work. If you go that route, the HX-A1 is a great value. If you want 24P in HDV, Sony has one model, but it has pretty crummy low light
[videoblogging] Re: What kind of Pro camera should I get?
I read a lot of good things about the Panasonic DVX100 line, it's a good point about HD though, with so much stuff going that way.I will have to check to see if there are any rental places around Cincinnatididn't think about that option Heath http://batmangeek.com --- In videoblogging@yahoogroups.com, Brook Hinton [EMAIL PROTECTED] wrote: Among the typos I left this out - despite the hubbub about the HVX200's 540 line resolving power, everyone I know feels it holds up to HDCam and even film outpt as well or better than its HDV equivalents. Resolution isn't everything by a long shot. Also be warned that the fake 24P on some of the Sony cameras can NOT be treated as 24P in post and looks really really wonky. And I left out my summary: assuming 24P is necessary: Best value: Panasonic DVX100 (but doesn't do HD) Best HD option under 10k: Panasonic HVX-200 Best Professional HDV for the money: Canon XH-A1 Best Consumer HDV: Canon HV20 Best Consumer DV: Sony's cheapos still have the picture quality edge, while Panasonic's have the interface/ergonomics edge. Brook On 12/9/07, Brook Hinton [EMAIL PROTECTED] wrote: Warning - long response. First - if you have a good rental house nearby I would strongly consider renting for your for-hire work unitl you get a good sense of what cameras you like and how their workflow works out for you. That's what I'm doing right now - there's still a lot of upheaval in the low to mid end HD production field and things will keep changing rapidly. The fallout from the introduction of the RED camera is going to change things drastically. That said, here's my take on the sub-10k cams I'm familiar with. You'll note very little Sony or JVC mentioned - I used to favor Sony's stuff, but they've fallen way behind in this field in my view. JVC makes some very interesting midrange cameras, but I am leery of their For 24P in standard def/DV you are pretty much limited to the absolutely excellent Panasonic DVX100 (or its more expensive big brother, the HVX200, which also does HD once you add pricey P2 cards - see below). For pro for-hire work I still try to avoid HDV except for projects that are primarily interviews or other material that won't have a lot of motion. The Canon HDV stuff does a better job than the other brands on avoiding motion artifacts and blocking it seems, but you're going to be delivering on DVD, h.264 files or an HD DVD / Blu-Ray pretty soon for many clients, which means putting that long-GOP mpeg2 transport HDV stream through not only color correction and whatever other image processing and compositing but ANOTHER pass of temporal compression. That said, I know others who are using the the higher end Sony and Canon HDV cameras for professional work. If you go that route, the HX-A1 is a great value. If you want 24P in HDV, Sony has one model, but it has pretty crummy low light performance. Canon's prosumer/professional HDV stuff does 24F, which is kind of like a 24fps version of frame mode on the XL1 and GL1 - doesn't have the res of 24P but it has the look and can be treated as true 24P in post. On the lower end - while I adore my little HV20 as an everyday personal cam and even for my own filmmaking, it lacks the support you really need for professional audio in the field (unless you're doing double system sound), and is going to make most clients a little uneasy since it looks and feels like a very cheap consumer camera. It's 24P feature requires some extra steps in post as it doesn't carry the cadence flags other 24P video equipment uses. The picture, once you learn to get full manual control, rivals its more expensive brothers and sisters though. It's the best consumer-for-pros secret weapon cam since the Sony TRV900, but it's not something to build a production business around. IF you can afford it and are willing to learn the workflow of using P2 cards and no tape, the HVX200 is NON-hdv HD camera for the money, does multiple frame rates, and uses dvcproHD instead of HDV for compression. Basically (though this obersimplifies), its a native 16:9 HD version of the DVX100 (it will also do DV on tape). But once you get the cards and the support stuff it is more expensive than the high end Canon and Sony HDV stuff. There's a lot of talk about it only resolving 540 lines and the interpolation it uses. I should also repeat here three mantras I always tell my students: 1) Never buy anything until you are ready to learn it thoroughly and use it regularly immediately. I work with so many people who got themselves fully equipped and then, two years later, find themselves facing obsolescence or incompatabilities once they are ready to really learn and use. 2) Never WAIT to buy something you need right away due to fear of something better and cheaper coming out soon
[videoblogging] Re: What kind of Pro camera should I get?
Never truer words spoken. Just my opinion... Unless you are consistently producing quality professional work, then stick with what you have until you can make what you have look professional. What looks professional? Heh...age old question. Professional is what you've created with it. The camera will NOT help you be, look or create something professional. Again...just my opinions. --- In videoblogging@yahoogroups.com, Brook Hinton [EMAIL PROTECTED] wrote: 3) A skilled and talented artist or craftsperson can get professional results from almost anything. An unskilled person will not do any better with a CIneAlta HDCam than they will with a cel phone camera. The person is at least 95% of the quality equation. The equipment is secondary. FWIW, with apologies for my habitual lectury teacher-tone, Brook ___ Brook Hinton film/video/audio art www.brookhinton.com studio vlog/blog: www.brookhinton.com/temporalab
Re: [videoblogging] Re: What kind of Pro camera should I get?
Heath: I don't have much to add to Brook's long informative response. I agree with her that the newer JVC Sony equipment doesn't feel as solid as the Canon. The XH-A1 is on my wish list when I can spare the money to make the jump to HDV. One thing I see as a difference between pro and consumer cameras is the audio interface. * Can you plug in XLR audio? * Can you separate right left audio channels from different sources? * Can the inputs take line level inputs, or just mic level? * How goos is the on-board microphone? Does it stand out far enough from the camera body to reject the lens motor noise? If you don't have the budget for a pro camera with these features, they can be added to a cheaper camera like the HV20 using good add-on adapters ... as long as it has a 1/8 mic jack. I use a Rode shotgun mic BeachTek passive XLR adapter with my Sony TRV950. Those two add-ons cost about $300 together, and they really add to what my little prosumer camcorder can do. Add-ons do complicate your setup. You're adding extra batteries, plugs on-switches ... and if you're not careful, your camera rig looks like the Bride of FrankenVision. I'm not ready to drop $3K+ on a new HDV camera and accessories yet, but when I do I will spend more to get a more solid camera without needing to add lots of stuff to the shoe :) br Heath wrote: I read a lot of good things about the Panasonic DVX100 line, it's a good point about HD though, with so much stuff going that way.I will have to check to see if there are any rental places around Cincinnatididn't think about that option Heath http://batmangeek.com -- Brian Richardson - http://siliconchef.com - http://dragoncontv.com - http://whatthecast.com - http://www.3chip.com
[videoblogging] Re: What kind of Pro camera should I get?
Nice rundown. I've seen really good results from the DVX100 and recently from the HVX200. If this is for a professional, and as you mentioned, CONSTANTLY PAYING application, I would choose the HVX200, as you'll make your money back instantly from clients that recognize how much better your camera is over the competition. As far as workflow, with the HVX200's P2 cards, you get to use Log and Transfer instead of Log and Capture in Final Cut Studio 2. MUCH faster transfer to disk as opposed to playing real-time from tape. You get to see your clips before you bring them in, so you don't even have to transfer clips that you know you're not going to use. Faster workflow = Getting the project out the door faster = More money for your time spent. -- Bill Cammack CammackMediaGroup.com --- In videoblogging@yahoogroups.com, Brook Hinton [EMAIL PROTECTED] wrote: Among the typos I left this out - despite the hubbub about the HVX200's 540 line resolving power, everyone I know feels it holds up to HDCam and even film outpt as well or better than its HDV equivalents. Resolution isn't everything by a long shot. Also be warned that the fake 24P on some of the Sony cameras can NOT be treated as 24P in post and looks really really wonky. And I left out my summary: assuming 24P is necessary: Best value: Panasonic DVX100 (but doesn't do HD) Best HD option under 10k: Panasonic HVX-200 Best Professional HDV for the money: Canon XH-A1 Best Consumer HDV: Canon HV20 Best Consumer DV: Sony's cheapos still have the picture quality edge, while Panasonic's have the interface/ergonomics edge. Brook On 12/9/07, Brook Hinton [EMAIL PROTECTED] wrote: Warning - long response. First - if you have a good rental house nearby I would strongly consider renting for your for-hire work unitl you get a good sense of what cameras you like and how their workflow works out for you. That's what I'm doing right now - there's still a lot of upheaval in the low to mid end HD production field and things will keep changing rapidly. The fallout from the introduction of the RED camera is going to change things drastically. That said, here's my take on the sub-10k cams I'm familiar with. You'll note very little Sony or JVC mentioned - I used to favor Sony's stuff, but they've fallen way behind in this field in my view. JVC makes some very interesting midrange cameras, but I am leery of their For 24P in standard def/DV you are pretty much limited to the absolutely excellent Panasonic DVX100 (or its more expensive big brother, the HVX200, which also does HD once you add pricey P2 cards - see below). For pro for-hire work I still try to avoid HDV except for projects that are primarily interviews or other material that won't have a lot of motion. The Canon HDV stuff does a better job than the other brands on avoiding motion artifacts and blocking it seems, but you're going to be delivering on DVD, h.264 files or an HD DVD / Blu-Ray pretty soon for many clients, which means putting that long-GOP mpeg2 transport HDV stream through not only color correction and whatever other image processing and compositing but ANOTHER pass of temporal compression. That said, I know others who are using the the higher end Sony and Canon HDV cameras for professional work. If you go that route, the HX-A1 is a great value. If you want 24P in HDV, Sony has one model, but it has pretty crummy low light performance. Canon's prosumer/professional HDV stuff does 24F, which is kind of like a 24fps version of frame mode on the XL1 and GL1 - doesn't have the res of 24P but it has the look and can be treated as true 24P in post. On the lower end - while I adore my little HV20 as an everyday personal cam and even for my own filmmaking, it lacks the support you really need for professional audio in the field (unless you're doing double system sound), and is going to make most clients a little uneasy since it looks and feels like a very cheap consumer camera. It's 24P feature requires some extra steps in post as it doesn't carry the cadence flags other 24P video equipment uses. The picture, once you learn to get full manual control, rivals its more expensive brothers and sisters though. It's the best consumer-for-pros secret weapon cam since the Sony TRV900, but it's not something to build a production business around. IF you can afford it and are willing to learn the workflow of using P2 cards and no tape, the HVX200 is NON-hdv HD camera for the money, does multiple frame rates, and uses dvcproHD instead of HDV for compression. Basically (though this obersimplifies), its a native 16:9 HD version of the DVX100 (it will also do DV on tape). But once you get the cards and the support stuff it is more expensive than the high end Canon and Sony HDV stuff. There's a lot of talk about it only resolving 540 lines and the interpolation it uses. I
[videoblogging] Re: What kind of Pro camera should I get?
I use the Rode video mic a lot since I have gotten it, for audio it's greatI'm just not that impressed with my camera low light abilitiesbut thinking about what Brook mentioned I think I am going to try and find a rental place around here. I think I have made some pretty good stuff with what I have, I know that is subjective, but I think I have when I have used my camcorder insted of my other camera that captures videobut by playing around first hand with some stuff I can get a feel for some things i think.. Thanks everyone for their thoughts Heath http://batmangeek.com --- In videoblogging@yahoogroups.com, Brian Richardson - WhatTheCast? [EMAIL PROTECTED] wrote: Heath: I don't have much to add to Brook's long informative response. I agree with her that the newer JVC Sony equipment doesn't feel as solid as the Canon. The XH-A1 is on my wish list when I can spare the money to make the jump to HDV. One thing I see as a difference between pro and consumer cameras is the audio interface. * Can you plug in XLR audio? * Can you separate right left audio channels from different sources? * Can the inputs take line level inputs, or just mic level? * How goos is the on-board microphone? Does it stand out far enough from the camera body to reject the lens motor noise? If you don't have the budget for a pro camera with these features, they can be added to a cheaper camera like the HV20 using good add-on adapters ... as long as it has a 1/8 mic jack. I use a Rode shotgun mic BeachTek passive XLR adapter with my Sony TRV950. Those two add- ons cost about $300 together, and they really add to what my little prosumer camcorder can do. Add-ons do complicate your setup. You're adding extra batteries, plugs on-switches ... and if you're not careful, your camera rig looks like the Bride of FrankenVision. I'm not ready to drop $3K+ on a new HDV camera and accessories yet, but when I do I will spend more to get a more solid camera without needing to add lots of stuff to the shoe :) br Heath wrote: I read a lot of good things about the Panasonic DVX100 line, it's a good point about HD though, with so much stuff going that way.I will have to check to see if there are any rental places around Cincinnatididn't think about that option Heath http://batmangeek.com -- Brian Richardson - http://siliconchef.com - http://dragoncontv.com - http://whatthecast.com - http://www.3chip.com
