DVX100 -- various topics

Stefan Scherperel · December 22nd, 2004, 10:07 PM

Yes it is normal.
Hope that eases your stress.

Dean Harrington · December 26th, 2004, 10:12 PM

sell the DVX 100a for 360,000 yen. That's about $3,500.00 US

Rolf Schwarz · January 17th, 2005, 02:30 PM

hi everybody!

can anybody tell me somethig about the
spot meter,is it an opportunity to work with,
what do the percent numbers mean?

thanx for any help!

Michael Liebergot · January 17th, 2005, 09:15 PM

Ok here we go.

I need a quick poll to see if people prefer handheld or shoulder supported cameras for shooting video.

I am in the market for a new camera to retire my GL1 to be a second camera. I shoot event video.

I have only used smaller handheld MiniDV cameras ie. Cannon Gl1/2 and have never used a shoulder mount camera before.

Due to money constraints, I have narrowed my search down to either a Panasonic DVC30 or DVC60. These for me are the best bang for my buck. The DVC60 is essentially the same camera as DVC30 except for better microphone, longer lens barrel, and bult in XLR. The body on the DVC60 is carbon fiber so it only weighs 5.5 lbs.

Since I have never used a full size shoulder mount camera, would it be better if I stuck with handheld and utilize stableizer support like DVRige Pro for smoother handheld?

Or should I be ok with shoulder mount camera for extende useage?

Do you find it strenuous to shoot with a shouldermount?

Is it that easier to get steadier shots with shoulder supported camera.

Thanks for your feedback.

MLiebergot
LVProductions

Barry Green · January 18th, 2005, 12:24 AM

It tells you the relative brightness of whatever you have the central square pointing at. So you can quickly pan around your subject and see what each element is registering at (0% = black, 100% = pure white). It's just another tool to help you gauge exposure.

Milosz Krzyzaniak · January 31st, 2005, 04:22 PM

Hello

What would be the focal lenght range of DVX when with telephoto adapter (comparing to 35 mm)?

Barry Green · January 31st, 2005, 08:48 PM

Compared to 35mm still-cameras? Or 35mm movie cameras?

Mostly when you see video cameras compared to 35mm cameras, they're meaning a 35mm still camera. So by that terminology, the DVX with the Century 1.6x tele-extender lens is equivalent to about 520mm on a still camera.

On a movie camera, it's equivalent to about 300mm.

Deniz Turkmen · February 3rd, 2005, 01:08 AM

I use the DVRig Pro, and as long as you set it up right, you should be able to go all day without any fatigue. With a little practice you can pull off some real nice steady shots.

Whether you go handheld or with a shoulder mounted camera, it's gonna get heavier as the day goes on.

The DVRig solves that problem since the weight of the camera is resting on the support rod. I use it with my DVX100a and highly recommend it.

Michael Frank · March 8th, 2005, 09:37 PM

Australian feature film shot with Panasonic DVX100 PAL

www.rachoi.com

TRAILER NOW ON-LINE

Jose di Cani · March 9th, 2005, 08:44 AM

saw the trailer. Looks good, but I would change the audio mix. The sound of the breaking glass is way to hard. Also the slap in the face looks a bit amateur. YOu can see it is made with a semi-pro cam and you can see it in the mixing as well. I don't know how to change that, but I think you can do with better lighting set-ups and more power in characters (MORE acting)

Bogdan Apetri · March 11th, 2005, 11:55 AM

OK, I shot the sync sound of my 35mm short on a DVX100PAL.

The movie was shot at 24fps. The video progressive 25p. I plan to save the sound from the DVX as WAVE files. Do I need to do something with the frequency? Anything else I should take care of to match the sync perfectly?

Thanks a lot!

Krishna Narayanamurti · March 11th, 2005, 01:36 PM

Does anyone have any experience with using the DVX100/a for content that may be aired on TV and how difficult it is to meet the broadcast safe requirements?

Thanks.
Krishna

Bogdan Apetri · March 11th, 2005, 04:06 PM

I think broadcast standards are not uniform, each station can has its own standards, depends on the engineers etc.

As far as color correction and video signal are concerned, watch for white clipping - I believe there is an automated thing in FCP where you can see/check/repair this. Other software as well. Broadcast standars say you cannot have more than 100 IRE - however, (only) occasionally you can get away with a reflection, a spark etc in the image. Also watch for the black level.

Other than that, maybe someone else can say more about that? Again, there are no uniform standards, right?

Barry Green · March 12th, 2005, 12:29 AM

You shouldn't have to do anything. The audio was recorded at 48,000 samples per second, not 25 frames per second. You should be able to import the DV footage into a PAL project, and export the audio as a .wav file, and then import the audio .wav files into your film 24p project directly.

Jim Sofranko · March 24th, 2005, 09:08 PM

I have a Vocas clip-on matte box that I have used extensively with my XL1. It is a two stage with one rotatable stage and has performed well on the Canon.

I may be interested in purchasing a DVX100A in the near future. Is the lens with the Panasonic sturdy enough to hold this type of matte box?

Thanks.

December 26th, 2004, 10:12 PM	#227
Dean Harrington Major Player Join Date: Nov 2002 Location: Tokyo Posts: 898	pro shops..... sell the DVX 100a for 360,000 yen. That's about $3,500.00 US

January 17th, 2005, 02:30 PM	#228
Rolf Schwarz New Boot Join Date: Jul 2004 Posts: 6	spot meter hi everybody! can anybody tell me somethig about the spot meter,is it an opportunity to work with, what do the percent numbers mean? thanx for any help!

January 17th, 2005, 09:15 PM	#229
Michael Liebergot Trustee Join Date: Jan 2005 Location: Maryland Posts: 1,505	Shoulder Supported or Handheld Camera? Ok here we go. I need a quick poll to see if people prefer handheld or shoulder supported cameras for shooting video. I am in the market for a new camera to retire my GL1 to be a second camera. I shoot event video. I have only used smaller handheld MiniDV cameras ie. Cannon Gl1/2 and have never used a shoulder mount camera before. Due to money constraints, I have narrowed my search down to either a Panasonic DVC30 or DVC60. These for me are the best bang for my buck. The DVC60 is essentially the same camera as DVC30 except for better microphone, longer lens barrel, and bult in XLR. The body on the DVC60 is carbon fiber so it only weighs 5.5 lbs. Since I have never used a full size shoulder mount camera, would it be better if I stuck with handheld and utilize stableizer support like DVRige Pro for smoother handheld? Or should I be ok with shoulder mount camera for extende useage? Do you find it strenuous to shoot with a shouldermount? Is it that easier to get steadier shots with shoulder supported camera. Thanks for your feedback. MLiebergot LVProductions

January 31st, 2005, 04:22 PM	#231
Milosz Krzyzaniak Regular Crew Join Date: Mar 2004 Location: Germany Posts: 64	What length would be the lens with telephoto adapter? Hello What would be the focal lenght range of DVX when with telephoto adapter (comparing to 35 mm)?

March 8th, 2005, 09:37 PM	#234
Michael Frank New Boot Join Date: Jan 2004 Location: Sydney Australia Posts: 13	New Australian Film Shot With DVX100 Australian feature film shot with Panasonic DVX100 PAL www.rachoi.com TRAILER NOW ON-LINE

December 22nd, 2004, 10:07 PM	#226
Stefan Scherperel Major Player Join Date: Dec 2003 Location: Seattle WA Posts: 209	Yes it is normal. Hope that eases your stress.

January 18th, 2005, 12:24 AM	#230
Barry Green Barry Wan Kenobi Join Date: Jul 2003 Location: North Carolina Posts: 3,863	It tells you the relative brightness of whatever you have the central square pointing at. So you can quickly pan around your subject and see what each element is registering at (0% = black, 100% = pure white). It's just another tool to help you gauge exposure.

January 31st, 2005, 08:48 PM	#232
Barry Green Barry Wan Kenobi Join Date: Jul 2003 Location: North Carolina Posts: 3,863	Compared to 35mm still-cameras? Or 35mm movie cameras? Mostly when you see video cameras compared to 35mm cameras, they're meaning a 35mm still camera. So by that terminology, the DVX with the Century 1.6x tele-extender lens is equivalent to about 520mm on a still camera. On a movie camera, it's equivalent to about 300mm.

February 3rd, 2005, 01:08 AM	#233
Deniz Turkmen Regular Crew Join Date: Aug 2002 Location: CA Posts: 166	I use the DVRig Pro, and as long as you set it up right, you should be able to go all day without any fatigue. With a little practice you can pull off some real nice steady shots. Whether you go handheld or with a shoulder mounted camera, it's gonna get heavier as the day goes on. The DVRig solves that problem since the weight of the camera is resting on the support rod. I use it with my DVX100a and highly recommend it.

March 9th, 2005, 08:44 AM	#235
Jose di Cani Major Player Join Date: Oct 2004 Location: Holland, Europe Posts: 214	saw the trailer. Looks good, but I would change the audio mix. The sound of the breaking glass is way to hard. Also the slap in the face looks a bit amateur. YOu can see it is made with a semi-pro cam and you can see it in the mixing as well. I don't know how to change that, but I think you can do with better lighting set-ups and more power in characters (MORE acting)

March 11th, 2005, 11:55 AM	#236
Bogdan Apetri Regular Crew Join Date: Oct 2003 Location: New York, USA Posts: 117	shot sync sound for 35mm short with DVX - now what? OK, I shot the sync sound of my 35mm short on a DVX100PAL. The movie was shot at 24fps. The video progressive 25p. I plan to save the sound from the DVX as WAVE files. Do I need to do something with the frequency? Anything else I should take care of to match the sync perfectly? Thanks a lot!

March 11th, 2005, 01:36 PM	#237
Krishna Narayanamurti Regular Crew Join Date: Jul 2003 Location: Los Angeles, CA Posts: 52	meeting broadcast standards Does anyone have any experience with using the DVX100/a for content that may be aired on TV and how difficult it is to meet the broadcast safe requirements? Thanks. Krishna

March 11th, 2005, 04:06 PM	#238
Bogdan Apetri Regular Crew Join Date: Oct 2003 Location: New York, USA Posts: 117	I think broadcast standards are not uniform, each station can has its own standards, depends on the engineers etc. As far as color correction and video signal are concerned, watch for white clipping - I believe there is an automated thing in FCP where you can see/check/repair this. Other software as well. Broadcast standars say you cannot have more than 100 IRE - however, (only) occasionally you can get away with a reflection, a spark etc in the image. Also watch for the black level. Other than that, maybe someone else can say more about that? Again, there are no uniform standards, right?

March 12th, 2005, 12:29 AM	#239
Barry Green Barry Wan Kenobi Join Date: Jul 2003 Location: North Carolina Posts: 3,863	You shouldn't have to do anything. The audio was recorded at 48,000 samples per second, not 25 frames per second. You should be able to import the DV footage into a PAL project, and export the audio as a .wav file, and then import the audio .wav files into your film 24p project directly.

March 24th, 2005, 09:08 PM	#240
Jim Sofranko Major Player Join Date: Mar 2004 Location: West Shokan, NY Posts: 217	Clip on matte box I have a Vocas clip-on matte box that I have used extensively with my XL1. It is a two stage with one rotatable stage and has performed well on the Canon. I may be interested in purchasing a DVX100A in the near future. Is the lens with the Panasonic sturdy enough to hold this type of matte box? Thanks.