I'm editing a wedding I shot recently. I had a wireless receiver on one channel and my shotgun on another channel. and I've noticed that whenever the groom breathed heavily on the wireless lav, and causing a clipping on the wireless channel, it would cause a drown-out of the audio on the other channel. Anyone noticed this? any idea why it would do this? AGC was turned on, so could the AGC circuitry be doing it's work on both channels if it's detecting one is clipping?

I'm pretty sure AGC is not channel selectable so it would cause a reaction on all channels being recorded at the time.

Howdy from Texas,

The pre-press version of Adam's article is flawed by various typographical errors (not of his doing -- blame his editors); however it is available at dv.com (http://www.dv.com). Enjoy,

Thanks Chris.. it's a great article, written by one of the gods of the industry.

I am looking to buy between the dvx 100a or the xl1s but the only feature stopping me from the dvx at the moment is the "frame mode" feature on the xl1s - which supposedly creates that fast hi-energy stutter look - like in gladitor or saving private.. & more recently "28 days" danny boyle, in an article here:
_
http://www.28dayslaterthemovie.co.uk/video/featurette_hi.html
_
he talked about using "frame mode" on the xl1s to acheive this mad fast stacatto effect - that I have seen on a few music videos also.
Is this possible on the dvx100 or dvx100 a ?

Check some of the links at the top of this forum, especially Adam Wilt's site, for detailed information, but the short answer is, anything the XL1s does, the DVX100/a does better... (except interchangeble lenses)

Frame mode is simply 30 frames per second rather than 60 interlaced frame. However, it's not full resolution, but used pixel shift to give about 360 lines rather 480.

The DVX100/A do both 24 and 30 frames per second, full resolution with much finer control of gamma, detail, matrix etc.

The staccatto gladiator, ryan look is using a narrow shutter angle which you can simulate using a high shutteer speed (1/250 or so), speed and lighting changes.

Hello and Marry Cristmas !

Can the AG-DVX100 roll a slave DV camcorder?
So that I have a safety tape from what shoot without having to pull a dub afterwards?

Lambis

yup, ther eare actual settings you can configure to trigger the start, whether it be a duplicate recording, or whether is a start point set according to tape remaing from the master (basically it allows non stop recording with seemless tape change :) )

what is the zoom range on the dvx100a with the stock lens?

10:1, from 4.5mm to 45mm (32.5mm - 325mm in 35mm equivalent terms)

This time, there's far less jaggies--thanks to DVFilmMaker.

http://www.dvuser.co.kr/zboard/view.php?id=gallery&page=1&sn1=&divpage=2&sn=off&ss=on&sc=on&select_arrange=headnum&desc=asc&no=9491

Oh, those grabs are from my MX5000 video footage, but I just wanted to show you guys what DVFilmMaker and S-Spline Pro can do.

http://www.dvuser.co.kr/zboard/data/gallery/srule2.jpg

I am planning on replacing my PD100a with a DVC80 for industrial work...but I wanted to know what luck or comments buyers here have had with purchasing a Mack warranty.

I have bought from BH before, but I bought into a GE finance warranty on both my vx1000 and pd100a. Both of these cameras were serviced by a local Sony dealer with no problem.

Not sure about this Mack, which does sound good for $169 and 4 years.

Also, anyone know offhand if/when buying with an AmEx (business) if they extend the warranty for you? I will call of course, but if I can get at least a 2nd year then I probably would forgo the 4 year Mack warranty.

NEF

I've got and had them but never had to use one (knock on wood). I have transferred the warranty to another buyer, so that works.

Hey there. I am interested in getting a Panasonisc DVX 100 and want to know which mic would be suitable for it. I have a limit of $200 to put into it. I plan on using the camera for documentary filming and would like the best pick up that a mic can offer. Thanks.

Kris, do a search for "shotgun" or such on the forums. There have been large threads going on very recently that tested a whole range of mics, shotguns, cardiods, hypers etc. I'm not sure but you might be able to get an Oktava MC012, single capsule, for a couple of hundred.

Here's one of the threads (http://www.dvinfo.net/conf/showthread.php?s=&threadid=19191&highlight=dislike+shotgun)

Cheers
Aaron

I thougth I had read somewhere awhile back that the heads on the new DVX 100 "A" were improved.. I am unable however to find any reference to this within panasonic literature.. Can anyone shed light on this issue???? Thanks

We'll I can't give you any official information, I can tell you that I have 20hrs logged on the 100a and still have yet to see a single drop out. I even shot the first tape (a practice tape for me) in LP mode, and still got perfect footage. I only use the MQ tapes, so I can't say with other tape brands.

Anyone know the maximum weight of an accessory you can put on the hotshoe of dvx100a?

More specifically, I'm interested in putting a light on the shoe and didn't want to break it by putting on a heavy light.

Incidentally, anyone know the weight of a bescor 635 light? Their website nor B&H indicate how much it weights.

Thank you,
Vincent

If it isn't listed in the manual I'd contact Panasonic, just to be safe!

This was shot in October, edited in November on the original DVX100. Probably 15-20% of the shots were not done on the DVX100 but on a much cheaper camera because I couldn't be there when needed and it was "stock" footage if you will...wish I could have captured the entire thing though on the DVX100.

Regardless, go to www.dec12studios.net and click on the main picture or click on documentaries.

Some of the sounds are temporary....but it's coming along....music by a Goth band called Leper, and a Nashville musician named Nathan Pohl.

looks interesting but you really need to kill the reverb or chorus or whatever you used on the voice over...it's a little, um... much

does the dvx100 take still pictures??

Not as a seperate function. There's no "still shot" button as such. You can however shoot at 30 fps and pull an ok still from those frames if needed.

B

How well of a widescreen image can you make by taking 2 DVX100s and puting them side by side and then editing the two images together in post.

I experimented with this several years ago with my XL1 (actually stitched 4 pictures together.

The big problem is focal length. Wider angle introduce distortion in the image and when put together, it's quite obvious. It can be a cool effect, but the day to day logistics for everyday shooting are formidable.

How many hours should roll by before I clean the heads on my DVX 100? Should I use the head cleaning tape that came with this unit, or is there a better method?
thanks, Ronnie B

I think you'll find people suggesting using the included (with the 100 - need to buy one with the 100A) Panasonic MiniDV head cleaning tape only when needed, i.e., after noticing image degradation. It's kind of a lame method (waiting until you notice problems) but the head cleaning tapes are abrasive and will eventually damage the camera's heads if used to much. In my experience heads become clogged/dirty all at once - it's not a cummulative kind of thing. Thus unnecessary cleaning can cause more harm (in the long run at least) than good. I say it's a lame method since clogged heads on key shot ruin the shot. There is some kind of a sensor that flashes on screen when the heads are in trouble but I'm not clear if this is more for moisture (in which case letting the heads dry out is the solution) or dirty heads.

Hi All,

This is my conundrum…

ZGC has a too good to be true deal on a New DVX-100 (because it has been discontinued).

My Visa is burning a hole in my hand, but I am in Canada eh, and Panasonic Canada will not warrant this camera, it would have to go to the States for service.

The closest service center I have found in the US is in New York City, That’s too far to drive, though I could drive to Buffalo, NY, 1 hour away and send it from there.

Are they reliable enough to not worry about the warranty, I’ve always bought used Pro cams, usually pretty good results, but they have all required some servicing.

Also is it worth to spend the Extra $$$ for the 100A? From what I have read the 100 should suit me fine… The difference I save I can get an anamorphic adaptor after I pay down the Visa…

What would you folks do?

Buy the new cam without a local warranty?

Save $$$ and buy the 100A?

I really value your insights and opinions.

Thanks,

Chris

Hello Chris,
This is a matter that does test one's convictions, eh?

The DVX100 is well-built but is probably no more or less prone to problems than any comparable electronic device. Like all such gadgets, manufacturing problems covered by warranty are most likely to surface when the camera is new.

The fact is that you would most likely be mailing your camera to a service center, even a Canadian one. So, aside from the customs costs and hassles, mailing it to a New York location might not be much different than mailing it to, say, a Calgary location.

Not to direct business away from ZGC, but have you looked into close-out DVX100 stocks at Canadian retailers?

I've enjoyed reading other new DVX owners first impressions here, so I thought I'd share mine...

As a die-hard Canon user, I wasn't sure what to expect from my first Panasonic cam. I really felt I could benefit from the 24p & other features the DVX would offer me over my trusty GL2. So, I finally made the order...

My first 100A arrived today from ZGC, and I haven't been able to put it down. Now I'm left trying to figure out if I should keep my GL2 or sell it to buy more accessories for the DVX (or simply more DVX's!).

Things I like better on the DVX:
* picture quality (_in adequate light_) lives up to the hype
* love the focus ring and the corresponding numbers in the lcd/viewfinder... much easier to manual focus (and _rack_ focus) than my GL-2
* big LCD (compared to GL-2's 2.5") - easier to see what you're getting in the absence of a pro monitor
* definitely improved low light (as you would expect from bigger CCDs)

Things I like better on the GL-2:
* audio level dials easier to turn on the GL-2
* 20x zoom with the GL made event videography that much easier. With only half of that range on the DVX, taping from the back of a theater on single-cam shoots is going to be more difficult. then again, i got the DVX primarily for my 'narrative' work, not events, so i can live with less zoom.
* barrel distortion - on the GL-2 hardly noticeable, but on the DVX, the image is almost unacceptable in extreme wide . i realize you can minimize the rounding edges by zooming in with the DVX a little, but what do you do when you have no choice but to be at full wide ...give up on the shot? tear out a wall so you can move further back and then zoom in?

Anyway, hopefully I can post some clips after I've had a chance to really learn how to use all the settings and features on this amazing piece of equipment.

I made the same switch myself recently, from a GL2 to a DVX100A. I've been very impressed thus far.

A note on the barrel distortion - the DVX100A at its widest is wider than the GL2 is at its widest. Almost as wide as my GL2 was with the WD58H wide angle adapter I had, which did have barrel distortion visible. If you match the wide view with the Canon's most wide view, you'll see what I mean.

The zoom on the GL2 is definitely really nice. The lens on the GL2 is really a remarkable achievement. But for the stuff that I do, I very seldom went over half zoom or so with it, so I don't think I'll miss it much. I swear though, when I had the GL2 and went a-zooming, it never failed to surprise me each time. It was like a pair of binoculars!

Another thing about low light... A couple of weeks ago I did a walk through in downtown Orlando at night to see how the DVX does with available light in the city, and it was marvelous! I had tried the same thing with my GL2, and there really was an amazing difference, especially once you fiddle with the chroma settings on the DVX and play with it until you get it just right for the light available. Really no comparison. I'm very happy with the purchase myself.

Just some basic wedding footage using slow-mo and some special effects.

Keep in mind I wasn't the official videographer for the wedding, so I just had a typical aisle seat. Came in pretty well though-was the only one to catch the flying doves at the end outside, so that was nice.

www.dec12studios.net if interested

Beautiful, Neil. And I loved the doves being released. A really nice shot.

I'm just handing over a DVD of a wedding I did for a friend, and when I showed him (the father of the bride) the footage of an earlier cut, he just kept raving about what an amazing camera I had. Except for a few screw-ups by the operator (me), it really is really looks great. Rich colors. What a little cam.

Is there any way you can change the gamma and matrix from the ones that come standard with the camera. If not, it would be awesome if someone can make something for the DVX100 that could allow you to make gamma curves and matrices on your computer and then import them into the camera so that you can record in that gamma curve. This way you can make it look like any film stock you want.

I am a still photographer new to all this. I need to produce a dvd for a client. Low budget. I want to do it myself. I am going to edit in Final Cut Express. I will buy either the dvx 100 or 80. I am looking for, as much as possible, a "film look" with as few complications in capturing and editing as possible. I assume 24p is out. Is 30p the way to go (over 60i)? Does this work in FCE. Final product is dvd to be view on TV. Many thanks. Grant McClintock

The gamma is not changeable by any reasonable means. However, shooting cinema gamma allows the maximum flexibility to create altered gamma's in post. Search here for much more info on cinegamma.

The opposite - 24p is ideal for DVD. Read the Sonic Foundry whitepaper for info about this. I'm not sure in Final Cut Express support both pulldown methods, but the DVX100 is the way to go for filmlook.

Hey all. Just a quick question: since it's so hard to judge exposure on the LCD and I won't have a field monitor any time soon, is it good to use the Auto Iris as a guide to correct exposure (obviously excluding situations like shooting in front of a window etc.) or is there a rule that you should stop down slightly from the auto? Thanks guys.

Hi Bryan,

In the Scene Files you can adjust the amount of opening or closing of the iris according to your wishes.

You are not the only one mentioning that it's hard to use the LCD screen. However, I do all the exposuring on the screen and it never fails me. Make sure you check the exposuring with the LCD in the right angle, as it shows a bit lighter when it's leavered a bit up or down.
After checking my iris settings with the LCD I freeze the auto exposure and twist a bit with the dial button to check if there is any special light condition. Putting on the zebra function helps to warn for over exposured areas in the screen.

I'm not sure if this a film school method, but it works for me.

Cheers,

Peter

Could someone suggest a high quality stereo mic to use on my camera when filming street marching bands??? thank you

I can't recommend a good stereo microphone, but I can offer you a suggestion: Try using two wireless lav mics w/cardioid pickup pattern, and connect each of the two receivers into an XLR jack on the camera. The main advantage is that no matter where you move your camera during the shoot, you'll have a consistent stereo soundfield. For example, horns recorded on the left channel will stay left even you decide to shoot from the side or any other angle. Just a thought. . . .

I want to buy a PAL DVX100A in USA anybody here a clue where to buy at a good prive. I can find E model but need A model

Thanks for information

Meindert

E stands for Europe, so it's a PAL version of the DVX100. Has the updated version been released in Europe? Perhaps contact B&H and ask them if the have the PAL version of the DVX100A, meaning not the DVX100.

Been lurking and waiting to see if anyone else saw this:

<http://www.theasc.com/magazine/product.htm>

Good article by ASC cinematographers.

Also, Hasn't anyone noticed the article about Nancy Schreiber winning the Sundance Film Fest Award with a DVX100?

< http://www.digitalpostproduction.com/2004/02_feb/news/panasonic0212.htm>

and...

< http://www.panasonic.com/PBDS/subcat/newsinfo/press_04/04_10.html>

Makes me want to sell my body to buy one!

Jeff P :>)

<<<-- Originally posted by Jeff Patnaude : Been lurking and waiting to see if anyone else saw this:

<http://www.theasc.com/magazine/product.htm>

I think that's an old article (although a good one) and it has been discussed here quite some time ago...

Hi there,

I'm looking for another camera. So far I've nailed it down to the DVX100AE or the Canon Xl1s E. I currently have an XM2. The removable lens isn't an issue as much as trying to match up with the XM2 for videos. Primary use would be short films and music videos. Any ideas or thoughts on this would help

I had a GL2 and then moved up to the DVX100A. With some manipulation they could be made to match up I imagine, but you would have some difficulty. The DVX100 makes a much nicer picture, and just generally handles colors and detail in much different way than the Canon.

So if matching them up is of primary importance, go with another Canon, I'd say. But if you just want a really good camera, go for the DVX.

Thinking about picking up a DVX100 at NAB....anyone know of any special packages or deals in the works???

Thanks in advance..

-Adam

Our sponsors B&H and EVS (http://www.dvinfo.net/sponsors) are always at NAB. Be sure to check out their show specials.