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Old February 20th, 2005, 09:29 AM   #691
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sensor size has such influence on things as:

- depth of field (how large the area is that is in focus)
- how large the pixels are (depending on the amount of pixels), this can change the light sensitivity of the camera
- resolution (number of pixels) in combination with light sensitivity
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Old February 20th, 2005, 10:03 AM   #692
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mathew,
i might sound bias but bigger ccd do give you better image. in terms of setting and control, xl2 is no way near gy-dv5000.

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Old February 20th, 2005, 11:18 AM   #693
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Hey,

Now I'm reading this thread, I'm very interested, just out of curiosity: does anyone has samples of such a 1/2 inch CCD cam?
I really want to see once how much difference it now actually is.

I suppose bigger CCD gives you shallower DOF or is it the opposite?

Thanks for the information

BTW: I'm not asking because I want to buy a new cam, but now I'm reading this I'm rather wondered that a 1/2 CCD cam is offered at the same price of a 1/3 inch CCD cam...
Does that JVC has interchangible lens system?
What would be the best for filmmaking? The XL2 I suppose?
Are the 1/2 inch CCD cams more used for the news broadcast?

Thanks,
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Old February 20th, 2005, 08:41 PM   #694
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mathieu,
i'm not sure whether dof got anything to do with ccd size but i've compare different ccd size camera on a side by side basis. the result is tremendous especially when working in low light enviroment. 2/3"ccd is very much sharper compare to the smaller one.
if you compare jvc gy-dv5000 with canon xl2, gy-dv5000 would definately be more superior as it was design for professional. xl2 is popular with indie and profesional because its the only affordable camera wtih interchangeable lens. with the pricing gap coming closer, i think indie and professional have a better option of choice.
i don't think 1/2"ccd is only use for news broadcast. its a matter of how the person behind the camera uses it. i have seen even, 1/3"ccd footages used for tv program.

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Old February 21st, 2005, 09:32 AM   #695
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From the samples I've seen, the XL2 footage is "filmier". Not sure, but it might pack as much 16:9 resolution into the smaller chip than the 1/2" DV5000 CCD cropped to 16:9.
Bigger chips always win in low light though. I'd pick the XL2 for indie film where you can control your own lighting, but probably the DV5000 for everything else.
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Old February 21st, 2005, 09:46 AM   #696
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Thanks for the information, Ed.
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Old February 21st, 2005, 12:06 PM   #697
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PAL version which are the Best Camera Options!

I'm shooting PAL for my up comming project but I wonder about my camera choice because of budget and the choices I have.

I was set on the XL2 PAL with true 16:9 being the main factor.
2nd best was DVX 100A PAL The warm colors being main factor.

Both 24 fps a MUST but now I'm wondering if I'm shooting 25fps anyway. Why would that be important? I'm not taking advantage of that feature anyway.

So can any one give me CAMERA PAL options for a feature FILM? I'm transferring to Film is the XL2 still the best option or I'm I spending to much money on a camera that could easily be replaced by a cheap one if shooting 25fps.

Don't ask me why I'm not shooting 16mm or why I'm going PAL. Please just concentrate on the question a thousand thanks,....
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Old February 21st, 2005, 12:59 PM   #698
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forgive me, are you shooting at 24 or 25?
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Old February 21st, 2005, 02:18 PM   #699
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I wouldn't go for the DVX100 if it's only for the warm colours. I think you can achieve that with the camerasettings of the XL2 also, and in postproduction, where it's the best to adjust your colours.
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Old February 21st, 2005, 03:39 PM   #700
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Both cameras will do the job. But if you're shooting PAL, you will get 25 fps, not 24 fps. So if you need to transfer to film, you will end up with hassle. Contact your transferhouse to discuss the conversion issues, they sure will have some good advices and examples.

I use the PAL DVX100 and really like the machine. The DVX100A is even better. Use the squeeze mode or the anamorphic adapter with the DVX100A and you will have a great picture. The progressive video settings combined with the cinegamma color features will give you a good filmlook, as long as you light your shots properly and have a good DP.

I don't have any experiences with the XL2. Based on info on these kind of forums, I understand it has a nice widescreen feature and interchangable lenses. But it's more expensive than the DVX100(A) and it's cinegamma settings won't bring you as far as the DVX100 can.

Check the following webpage, it's about a comparisation between the DVX100A, XL2 and Sony minidv HD camcorder:
http://www.dvxuser.com/articles/shoot3/
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Old February 21st, 2005, 08:02 PM   #701
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one disadvantage the gy-dv5000 have compare to xl2 when working on indie production, you can't use it in alot of places such as shopping complexes, theme park... without getting into trouble with the authorities:o(

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Old February 21st, 2005, 09:02 PM   #702
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<<<-- Originally posted by Ed Liew : one disadvantage the gy-dv5000 have compare to xl2 when working on indie production, you can't use it in alot of places such as shopping complexes, theme park... without getting into trouble with the authorities:o(

ed -->>>

If you are doing that, the DVX100 is even a better choice, as the XL2 will still draw serious attention. Of course, shooting in those places is questionably legal at best anyway.
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Old February 21st, 2005, 09:15 PM   #703
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<< whether a standard DV tape actually has better quality than miniDV >>

You mean , whether a full-size DV tape actually has better quality than miniDV. And the answer is no. The only difference is the size of the cassette shell. Mini DV is not a format -- it's just the size of the cassette -- the same tape load goes into the full size cassettes as well. The format is still DV.
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Old February 23rd, 2005, 03:40 AM   #704
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If you are going to transfer the footage to film I would urge you
to find the transfer facility first. Talk them through everything and
they will help you with the best camera for your shoot and what
mode to shoot in. From what I hear the facilities are able to better
work with certain type of footage than others etc.

If you get a PAL camera you cannot shoot in 24p, since those
camera's do not have that option (in response to your "Both 24
fps a MUST"). It is either PAL or 24p, not both. Ofcourse, most
PAL footage that is transferred to film is simply interpreted as
24p footage instead of 25p and the audio is stretched by 4% to
match the now sped up motion (which you will not see).
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Old February 23rd, 2005, 03:52 AM   #705
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Please stop cross-posting Gladys. I've merged your two PAL
threads together and moved them to our Open DV Discussion
(general) forum where it belongs.
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