Chris Hurd mentioned on DV
 

I just took a look at the latest issue of DV only to see a mention about our beloved moderator setting up a hd camera test in Texas.

That's what I like about the man, he's too modest to brag about being mentioned.

The contribution seems to have a lot of members of DVinfo on the article.

Great job, I enjoyed the test article.

Were you referring to the hard copy issue of DV or the online stuff?

-gb-

Hi Greg,

I was talking about the hardcopy.

I noticed that, too.
 

Can I now "drop his name" and claim I occasionally "talk" with/get advice from a recognized authority and budding celebrity?

Go, Chris, go!

What's next? DV groupies?

You guys beat me to it! I just saw the DV magazine article twenty minutes ago. I saw Greg Boston's, Pete Bauer's and Chris Hurd's mug in the article. Good job, fellas!

My free issue should be here anytime then. Good article?

Where can I get a hardcopy since I don't subscribe? Available on any magazine racks?

-gb-

Barnes and Noble usually carries it. I used to buy it and VideoMakers I think... get a cappucino... read the mags... check out the... ;)

I was fortunate to get offered a free sub for industry folk about 3 years ago :)

By the way, my new issue came in, probably as I was typing earlier. Good article, and interesting footage. I can really tell which way Adam swings, when it came down to which one he preferred. I'm a new HD100 owner myself, and thrilled by it overall.

We also know that Chris has a thing for Canon, which is also an impressive cam in the shootout. I just have two questions For Mr. Hurd-
1) Did any point of the shootout ever sway you towards the JVC over your XL?
2) Which one of you fellas is hoarding the babydolls?

During the shootout, I never had an opportunity to observe any of the live results from any camera. I was too busy, pretty much on the phone the whole time lining up people, or places, or the next meal. My function in this thing was "inexperienced producer" and I was far too involved making all the mistakes that an inexperienced producer could possibly make. As far as the cameras were concerned, the closest I got to them were the handful of times when I worked the slate because nobody else was free; as a stand-in on camera when the real talent wasn't there; and when I threw some big rocks into the Colorado river for the Mpeg torture test.

And although I got to sit in on a few minutes of the review session, my attention was drawn from comparing the video to trying to figure out what Adam Wilt and Mike Curtis were talking about most of the time.

Adam: "Notice the phase correction effect of the bicubic Bayer interpolation going on in that three-pixel radius in the upper right corner every other two or three frames, just above her hair there."

Mike: "Oh, now that you mention it. Seems to be about a one-half percent gradiant bearing induced by an unregulated compounding cosine algorithm. Is that a Kell factor limitation of their linear progession method in the horizontal axis of the layering matrix?"

Adam: "I make it out to be a five or six micron difference in the stasis field inversion path, most likely caused by slightly overloaded shift registers on the Tantalus device. But the average person would never see it."

Me: "Huh? See what?"

Stacy and Carolee were booked through Jeff Curley of Austin Models & Talent, which is a great agency and they are wonderful people to work with. No doubt it was their weirdest shoot ever.

I'm really interested in what you guys concluded on both of these cameras. I'm from Austin,Tx but currently stuck in Kansas so I havent been able to find the magazine on the racks. Does anyone know of a link to this article online?

The online version has been available for some time now at dv.com -- the link is:

http://www.dv.com/features/features_...leId=189500064

You'll need to register there (it's free) in order to read it.

If you want me to spoil it for you and just cut to the chase, here it is:

All these sub-$10,000 cameras would have been deemed miraculous two years ago. At the same time, compared to their more expensive brethren, they all have severe limitations. Each is a study in compromise -- each manufacturer chooses some aspects of performance and handling to optimize, invariably at the expense of others.

You can take any one of these cameras and shoot stunning material with it. Which one you pick depends on your aesthetic preferences, working style, and postproduction workflow. Just choose one that works best for you and start shooting. Remember, talent trumps technology every time.

I read the entire article at the link and even though some of it was over my head, you guys did a damn good job with this. I like those shots you got over town lake. Ive got a bit more respect for the JVC as well.

There was one problem with the article.

Adam Wilt talked the bad chroma sampling of interlaced mpeg-2 but never really mentioned that 24F uses the good form of chroma sampling. In fact the only thing he really mentioned about 24F isthat when they captured material off a tape using SDI that it looked better but he figured it was kind of a chroma resampling thing in the camera or something like that.

It was kind of sad that no mention was made of how much better 24F is for chroma sampling. I thought this would have been a great area to test out.