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Old April 11th, 2003, 09:05 AM   #1
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Why should'nt I buy the DVX100?

I've been sold on the Pd150 for some time now and am about to purchase one, I'm now asking myself the question- What about the DVX100, It sounds very interesting but I heard about glitches and that worries me? I have been a Sony user for some time and I use Final Cut Pro 3 for all my editing/post needs. Will Final Cut 4 do the job if I change my mind and buy the DVX100. I have a feeling putting together a package deal for the new camera might be more expensive then putting together a PD150 package.
Thanks for all the input everybody, It is really helpful.
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Old April 11th, 2003, 09:13 AM   #2
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If true, full-rez progressive scan is important to you, either for output to film or output to progressive scan DVD, to me it's simple, the DVX100 is the only cam to consider.

If you shoot 60i for NTSC broadcast output and need DVCAM features, the PD150 is more attractive.
stephen v2
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Old April 11th, 2003, 11:25 AM   #3
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There are some minor nuances to the progressive mode on the DVX-100 that I have heard about.

Here are some notes stolen from the features page at B&H.


The following points are important when shooting in any of the progressive modes:

The color bars cannot be displayed.
The gain cannot be controlled. The gain value is controlled using a fixed value.
The auto focus cannot be controlled.
When the progressive mode has been selected, the sync signals of the images are temporarily disturbed. Furthermore, no images are output for approximately 3 seconds.
A shutter speed setting of 1/50 (OFF) or 1/60 is recommended.
Since the images are recorded in 5-frame increments when shooting on 24p mode or 24p advance mode, the timing at which recording starts may be delayed slightly.
When shooting in the progressive mode using the ATW feature, it will not be possible to adjust the black balance even by pressing the AWB button.
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Old April 11th, 2003, 12:35 PM   #4
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Here are some reasons for some of the issues you brought up.

Color bars - My understanding is that the color bars not being available in 24P is due to the cinegamma, and it's look. They just simply wouldn't be a good point of reference, at least that's what I was told. If necessary, you could use the color bars in 60i, tape a little, then switch over to 24P.

Gain control - In 24P mode you cannot control gain. This is true, and for me, I think it is a good thing. I prefer to light my scenes anyway than crank up the gain knob. For documentatians, this may be an issue, although having a lowel prolight along is really easy to do.

No Auto Focus - Yep. Also a good thing, and will not be updated. There is no auto focus on any prosumer level camera that is worth a damn in progressive or frame mode. On the plus side, you have numerical markers from 1 to 100 on the LCD screen and viewfinder for focus. I can actually pull a rack focus back and forth. I'm trying to build some sort of jimmy rigged follow focus.

Actually you can shoot with a 1/48, a la normal film. You can also with their "synchro scan", pick out any shutter speed between 1/24 and 1/1000. Would have liked to have been able to go all the way down to 1/15, 1/12, or 1/8, but I'll live.

The timing issues can be fixed easily in post or with DV Filmmaker ($95), which can also remove the dummy frames from 24P advanced footage for 24P advanced editing. (The best way to go, as you are protected for film, and you can add standard pulldown for video once done editing)

Auto tracking white (ATW) is bad news, on this camera and any others (esp the XL1). Just white balance again manually. It's easy, takes little time, and you won't have some crazy color flux in the middle of your shot.
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Old April 11th, 2003, 12:56 PM   #5
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Also, to properly credit the source of my post, it appears that the info I posted is indeed right out of the DVX-100 manual.

Todd, I'm not trying to say they are good or bad, just passing it along so that the person making the decision can be aware of some of the limitations.

Frankly, I think the DVX-100 is the best bet if you are trying to make a feature in which you have the ability to set up and light. For run-and-gun documentary work, I'm not sure it is the best choice.
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