been waiting for an HVX200...

[John Benton]

Yeah so,
I have been waiting for an HVX200, but I realize that the camera has some major drawbacks for me, namely resolution & Noise.

Plus I wouldn't get one probably until right before NAB and I will be left wanting something else.

The FX1 is not my ideal Camera, (I want 24p - but think I can do that in Post) but I believe the FX1 has a higher Res and I already have an SLR Audio box for it
I will be using it with a 35mm adaptor so that Res is gonna be important

So Should I spend 3k now and wait for what Nab has to offer - which wont come out until Fall/winter... and then Switch to whatever.
Or do I spend 6-7k on the Panny?

Here are some specific Questions:
-- I am a Mac person - Can I Capture directly into my Laptop's FinalCut pro via firewire from the FX1...? I hate digitizing
--How is the FX1 lens? Again I will be using it with a 35mm adaptor

Thanks for all advice

[Heath McKnight]

24p is only one part of a film look; lighting, shallow depth of field and more. Don't forget about a shutter as close to, or right on, 1/48 (the Z1 in 50i mode can do both 1/50 and 1/60).

Final Cut Pro 5 is a native HDV editor.

As for your camera choices, I'd highly recommend buying what you need right now. If you can wait, wait. Don't forget to test before you buy (you test drive cars, you look at homes you want and have them inspected). And always remember, an HVX200 won't make one a better videographer than an FX1, it's just a tool.

heath

[Heath McKnight]

And I've seen Z1s and FX1s with 35mm adaptors--very nice image!

www.redrockmicro.com is affordable and good.

heath

[John Benton]

Thanks Heath,,
I am thinking of a G35 adapter and have seen some wonderful examples with the Sony HD's
if I can log and capture Live with Final Cut, then my workflow is the same.
I was thinking of an Fx1 in addition to the HVX, just for those shots that need higher Res.
(But I think I remember hearing the FX1 doesn't handle Low light well)
Regardless, I cannot afford both right now - in fact that is the reason I may go for cheaper (Fx1) as a solution.
I will be needing a Camera soon, one way or another.

[Heath McKnight]

Most cameras I've ever used in the sub-$15,000 range don't handle low light well. Fortunately, Sony's voodoo in the cameras seem to make going to a slightly higher gain very clean (ie, no "noise"). I've gone up to 12 db and it looks great, though I generally shoot no higher than 6 db, unless I'm doing something creative, like making my image in camera look like grainy film.

FCP 5 edits native HDV well, but the faster the processor, the better you'll be. A slower system or no FCP 5? Try a proxy solution, like Lumiere HD. Only problem with editing native HDV in FCP 5 is that it won't display on a monitor because of how it controls the format. Use a card from Blackmagic Design, AJA or Blue Fish to see it.

And PLEASE buy a small HDTV, even an LCD that does 720p. The specs, if you will, of HDV (and HD, the web and more) is 709, while SD is 601. You will see a color difference if you're on an SD monitor vs. HD and color correction will be a huge problem.

heath

[John Benton]

Thank Heath,
I have a PB 17" with a 7200 hard disk and FCP 5
to capture.

Whay do you mean HDV in FCP wont display?....on my Powerbook? What?
( also I have a Dell 24" specifically for HD work)

To fake the 24P you would suggest recording on 1080/60i and
and using Nattress
http://www.nattress.com/

Thanks for all your help,
J

[Don Donatello]

if you have a project going into production now then maybe BUY .. if only short project then wait till NAB & rent, borrow till then ... as more persons get the sony some will rent them out .. i rented one last week from private individual for $250 for 7 days ..

[Heath McKnight]

That's cheap! $350 a day (3-4 day weeks) is common around the U.S., I've noticed. Of course, they include some nice extras.

Another thing to consider is if you've never shot HD or HDV before, give yourself enough time with the camera before you shoot anything for a short film or a client. Trust me on this.

Even if a wonderful camera came out right before I shoot my feature this June, I'd stick with the one my DP and I are most comfortable with, the Z1. Of course if it were DV, it's the DVX100a all the way. We've both used that more than the Z1. (In fact, between going out on students' shoots and other productions, I've been on over 80 movie sets that shot with the DVX100a.)

heath