Now that these are shipping.. Can anyone answer?? I have seen this question asked a dozen times.. no one seems to know or answer though. Low light in DVC 30 ??? Bad? will it work for a wedding? How does the footage compare to DVX100a in the cinegamma mode?? 60i?? anyone??

Low light is actually pretty good. I just finished shooting 6 hours up in the mountains under heavy overcast in deep woods. I shot mostly at 1/60 and 2.8 and never used the gain control. I could have never have done this with my GL-1. Of course this is much different than shooting a wedding but maybe it will help.

Regards,

Mark

Thank you for the input.. anyone else? Can anyone comment on matching footage for weddings etc. with the DVX 100A? and further opinions of low light?

What's the lowest manually selectable shutter speed on the DVC30?

I have a pan 953 and the lowest manually selectable shutter speed is 1/60th. I believe the shutter is slower still in one of the menu selectable digital modes, but in this mode ordinary video is a bit strobing. It does improve the low light performance.

On my vx2000 I can select 1/30 and I believe 1/15 right from the menu wheel.

Thanks ,

Wes

<<<-- Originally posted by Scott Plowman : Now that these are shipping.. Can anyone answer?? -->>>

I'm not sure what you're asking: are you asking which one a consumer should buy?

If so, it's obvious: anyone who can afford a DVX would and should buy the DVX. The DVC30 is for those who can't afford the DVX, or who really need a longer zoom range. Other than that the DVC doesn't have any features over the DVX, and it's smaller chips won't deliver as good performance as the DVX. Which is why it costs $1400 less (MSRP).

If you want the film look, progressive scan, larger CCD's, better low-light response, wider-angle lens, or just the best-quality camera, or the best audio, the DVX is the winner. If you need infrared nightshot recording, longer telephoto reach, or cannot afford the DVX, then you consider the DVC30. Either way, the market segment for each is clearly defined, so I don't understand why someone would be trying to choose between these two -- they don't serve the same market.

Barry thank you for trying to help :)
im sorry maybe that is why no one has answered..
I meant for my question to be.... Will it match close enough to the quality I will recieve when trying to edit the footage together. I already have spent my life savings on the DVX100a.. I already own that.
My problem is this. I am making a storm chasing documentary. And I think the DVC 30 would work better for in and out in and out of the car.. I think it would mount easier as well given its weight and size. I need to know
1. Low light.. Is it even comparable? specs claim so.. My use would be questioned for weddings (low light)
2. will its footage match satisfactorily my dvx100a footage?


If anyone who has had enough time with this camera (DVC 30) that can compare it to the dvx that they may already own.. Thank you in advance for any help..

What are differences b/w these two cams?

Is the 25p on the AG-DVC30E (Pal) not the same as the dvx100.

Are the lenses different etc.

Cheers,
Ben Gurvich

I thought it was more like "whats the same between these two cams?".

:)

The DVX100A has the larger CCDs (1/3" vs. 1/4") and it offers true 25p progressive scan (24p/30p for NTSC). The PAL DVC30 only offers frame mode which is associated with a slight resolution loss compared to progressive scan.

Here is Steve Mullen's article on progressive scan, frame mode, and interlaced video. (pdf format)

Click here (ftp://ftp.panasonic.com/pub/Panasonic/Drivers/PBTS/papers/Progressive-WP.pdf)

Lens? I would think they would be different but maybe someone else can comment on this.

Thanks Tommy,

Its hard times to select. I wanna future proof so I really need true 16x9, Progressive I think is a must, but maybe even HDV is worth the wait, but not for 1080i.


Cheers,
Ben Gurvich

I was considering these two camcorders. I decided on the DVC30. I liked it's small size and relative inobtrusiveness. I do my own documentaries, that have sometimes involved travel to Eastern Europe. I burn them on DVD and distribute them myself to interested parties. I think the progressive scan capabilities of the 100a are not that important to me, and much of the so called film look could be gotten with software plug-in in premiere pro. Clips where I would use this would likely be pretty short and not require days of render time. Also price of DVX100A was pretty high for my budget. I ordered the DVC30A from Willoughby's in New York City. They answered my questions without any hard sell at all. I got the AG-DVC30, a four year warranty, an extra 4 hour battery, a UV filter, and three tapes for $2,419 with shipping. It shipped the next day, and it was at my door in two days. I highly recommend Willoughby's. I've spent a few hours with the AG-DVC30, so far so good. I have a Sennhieser ME66 external shotgun mike that I've attached. Previously I had a Canon GL1, and I like the DVC30 much better. It's even smaller, more sold. I think the video quality is a little better, and it has so more useful features. So far I recommend the DVC30 and Willoughby's!

Tilford,

Same here. I have 30+ hours on my DVC30 and its great. It does everything I want, has a high build quality and is easy to use. I think it will be quite a while before I outgrow this cam.

Regards,

Mark

i have the dvc-30 i love the filma gamma in 60i does notlook like video
i would also reccomend the jvc-gy300 with1/3 inch chips it has 700 lines of resolution and beats the 100a in picture quality it can be had for 1899 at tristatecamera.com latta

Does anyone know if the 16:9 squeeze mode on the DVC30 is the same as the squeeze mode on the DVX100A?

I'm currently looking at both of these cam's, but haven't been able to tell if one's squeeze mode is better than the other's.

Does anyone know if the 16:9 squeeze mode on the DVC30 is the same as the squeeze mode on the DVX100A?

The squeeze mode on the DVX100A is significantly better when used with progressive scan. The DVC30's squeeze mode with frame mode has VERY low resolution. I would recommend the GS400 over the DVC30 for quality 16:9.

Click here (http://www.villagephotos.com/pubbrowse.asp?selected=901419) for a 16:9 frame mode comparison between last year's GS100 and DVC30.

i would also reccomend the jvc-gy300 with1/3 inch chips it has 700 lines of resolution and beats the 100a in picture quality

The GY-DV300 and DVX100A are two distinctly different cams and the difference in video quality (not just resolution) is subjective.

OK, here we go. I do event videography and am looking to add a new camera to replace my Canon GL1 (Will now become 2nd camera).

I am leaning toward either Panasonic's DVC60 or DVC30.

If you had a choice would you rather have a DVC30 or a DVC60?

Since the DVC60 already has built in XLR inputs, the prices would be about the same when you put purchase the XLR adapter for the DVC30.

The componenets are essentailly the same except the lens on the DVC60 seems a bit longer and it seems to have a better onboard mic (although I would run a shotgun mic on it).

Although DVC60 is shoulder supported camera.

All feedback is welcome.

Thanks,
MLIebergot
LVProductions

Well, I think this all depends on you Michael. What kind of shooter are you? Do you use a tripod with wheels? Do you free hand? Can you actually weild such a big camera as the DVC60? Or do you work better with the smaller prosumer cameras (like the GL1)? Do you actually have enough space to move the DVC60 around at these events?

Pretty much, Michael, it comes down to what exactly you're shooting and what shooting conditions you face most often. It's actually funny that you ask about the DVC60, as there is a review in the latest issue of Camcorder & Computer Video magazine. I would personally go with the DVC60 because it has XLR's right off the bat, better handheld support with OIS to boot, good overall picture (like the DVC30 but maybe better?), and just a more tweakable camera overall I think.

To be honest though, I think the best event cameras would be the top three (the DVX100, XL2, and FX1 [if you want HD]). They shoot the best footage and have many options that you could fiddle with. The only problem is that they're expensive, that's the biggest issue. This again depends on you and what exactly you're shooting.

But to answer your question flat out, I'd go with the DVC60.

Jack thanks for the consice reply.
I have only shot events with prosumer GL1 body type cameras, so using the DVC60 would be a change for me being shoulder mount camera.

However this being said, I normally prefer going handheld whenever possible, and at receptions, I mainly go handheld entirely.

As I said using a shouldlder mount camera, would take some getting used to but it definitely would produce steadier shots with less effort (ie. monopods, steadipods etc.) on my part.

Also since the DVC60 is Carbon Fiber it isn't that heavy. I believe the specs said 5.5 lbs.

If I was to step up in price, I would definitely bite the bullet and go for the PD170 due to it's 1/3 CCD and great low light ability. But it definitely is a step up in price. If the DVC60 had 1/3 CCD's in it, then it would be a no brainer for me. Still pondering...

Thanks again,
Michael Liebergot
LVProductions

someone i know is offering me a dvx100 for the price of a dvx100a. i am starting to get serious making short films so i think this is the camera that might be best for me, however i already own a dvc30 and i'm not sure if the step up is worth it, because i'm not sure who would want to buy my dvc30 even thou it's in mint condition. could someone give me some advice? i don't want to pass this deal up if it's worth it.

They are offering you a DVX100 for the same price as a DVX100A ?

I'd say you're getting the raw end of the deal. The DVX100 can be had for less than the price of an A Model.

Depends on what you intend to use it for. A step up isn't so great if the following DVC-30 features are really important to you:

-16x lens
-smaller compact size for sleathier shots
-IR capability

Regards,

Mark

I wouldn't go for the DVX100 Evan. Even Panasonic realised that it was a bit of a marketing so-so, and quickly replaced it with the much better A model.

I don't know, but I suspect the 100A is better in low light than the DVC30. For a start it has 1/3" chips and two switchable ND filters and therefore at any given subject size the depth of field can be more easily controlled. The DVC30 has internal ND filtration and you never really know where you are and with what aperture you're shooting. It's really for the casual rather than the professional. You say you're getting serious? Then the DVX100A is the camera to aim at.

tom.

oops i meant a dvx100 for half the price of a dvx100a

I have searched extensively on this and the main discussion is about the "progressive" which is not my concern.

is the Cinegamma on the DVC30, the same set feature as on DVX100?
Do AG-DVC30 user's have the same control over gamma adjustments as on DVX100?

Hope its no gimmick gamma compared to DVX? the GS400 has cinegamma but is obviously nowhere near inline as the DVX100, so where does the DVC30 fit?
is it in anyway a sripped down skinny version of the DVX?

I am anticapating getting the pal version and shooting in 50i so 25p de-interlacing will be left to post which will also help with smoother pan's if not mistaken??

thanking kindly for any light on the topic.

owen,

Same settings between DVC30 and DVX100. DVC30 is know to have slightly richer color than DVX100 but that's probably because it came out after DVX100 and had more R&D. Either way you can not go wrong with Panasonic.

cine gamma on the 100 is a different ballgame to the 60.. many more options are available to you as opposed to the 60, which also has some issues with colour reproduction with slight oversaturation and bleeding.
Dont get me wrong the 60 is an awesome cam, and if i needed another unit, id prolly get one simply for the lens factor alone...

So glad I found this forum! I am having a tough time trying to decide which camera to purchase. I will use it mainly to shoot personal shorts/action movies with friends, and then the occasional wedding or two.

I really want to be able to shoot at different frame rates. I would rather have the 24p option, but I'm not sure I can justify the expense. Is 30p/Cinegamma on the DVC30 comparable to the DVX100, or is it just a poor attempt to simulate the DVX's capability? How different a look is 30p from 24p? Is it just less filmic in the shutter motion, or are the colors/black levels less film like as well?

It's hard to make the buy without ever really seeing the difference side by side, so I'll take any help I can get!

Thanks in advance!!!
Richie

I haven't used the DVC30, but last year Adam Wilt gave it an excellent review. One of the only things he criticized was the frame mode, which he said was accomplished using field doubling and not real progressive scan. He pointed out that this reduces your vertical resolution by 50%.

really want to be able to shoot at different frame rates.

((Why?? i mean, you shoudl have a reason for each of the plus' and minus' for each unit.. this way u can list what you want and why, and what you NEED vs What you WANT vs BUDGET))

I would rather have the 24p option, but I'm not sure I can justify the expense. Is 30p/Cinegamma on the DVC30 comparable to the DVX100,

((No its a different kettle of fish.. the only difference is that Cinegamma gives a wider dynamic range, On teh DVX, you havea variety of options, on teh DVC youre not given this flexibilty))

or is it just a poor attempt to simulate the DVX's capability?

((far from poor.. consider it "different" ))

How different a look is 30p from 24p? ((To the naked eye.. not much... but what yoru failing to see is that Frame mode is VERY different to TRUE progressive scan... ))

Is it just less filmic in the shutter motion, or are the colors/black levels less film like as well?
((all colour configs can be adjsuted within the menu system of teh DVC30.. with tweaking u can pretty muhc achieve the any "look" you want.. now you wont get the type of tweakability of the DVX, but for a cam of this range, its prolly the best ur gonna get.
Also people seem to be confused as to the benefits of Progressive.. and im really surprised noone here has bought this up everytime someones mentions frame vs progressive..

Frame is good.. u can achieve good results if ur crank your detail settings, but its nowhere near as clear and concise as a true full framed progressive frame. the difference is that Frame mode interpolates the 2 fields to create 1 frame.. this usually brings on a softness to the image as well as a slight stutter to the motion. Theres nothing wrong with it, but you lose detail.

True progressive on the other hand, is using the full CCD (as oppsed to 2 interlaced halves) to create the frame. From here, this is extended with pulldown.. whereby duplicate full res frames are created to give that 24p look.
Again you will see stutter in the motion, but a shutter running at twice the speed of the frame rate should alleviate this with a good amount of blur..

as for the applicatins your wanting to use the camera for, the DVX will offer not only a wider dynamic range throughout, but it also has XLR audio, Better low light performance and in the longrun you will see how much power this camera actually has comapred to a DVC..

In november last year, i had a DVC and took it to afew jobs.. I thought the zoom range would come in handy (which it did), the optical stabilser had been refined, the scene settings were all similar to what i was already used to and being panasonic, a 5300ma battery lasted me all day..
Problem was matching teh camera in post.. even in good light, and even after setting the scene files to be identical, matching the two cams was a nightmare... the biggest differnce being the dynamic range and colour gradation...to me, that difference was just too much..

But i ended up taking it back and forking out afew extra thousand dollars to upgrade it to another DVX... I dont regret this decision one bit.. in fact, IMO, the DVX outperforms the Z1 and PD170. Simply due to the fact that i can manipulate my settings to a point of dizziness whereby these other cams cannot. Also id prefer full frame progressive as oppsed to interlaced HDV.. when played back on a 720p projector i personally think it looks beter, but then again i like THAT look.. i dont like looking through a super sharp home video.. but my clients do which is why i still have my z1's (until the HVX200 comes out)

Also id prefer full frame progressive as oppsed to interlaced HDV

FWIW, the Z1 can give you 480/30p and 576/25p via its component video output but not through firewire. Look at the options in the Component Downconvert menu when you are set to record in HDV mode. You could use a relatively inexpensive component > firewire capture box to get it into the computer.

"He pointed out that this reduces your vertical resolution by 50%."

nothign against Wilts comments, but its a little innacurate...

Basicaly frame mode will use the lower or upper field (depending on ur location in the world) as a reference
Now as we know, one field is only have the CCD's resolution, so your only using half the resolution AS A REFERENCE for the frame.
However from what i know of the way Panasonic drive their frame mode, theyre actually taking BOTH FIELDS per frame then interpolating the two fields to recreate that one single frame.
Maybe they changed their method with the DVC.. but i doubt it.. frame mode looked good to my eyes.. and if that was 50% res... then my DVX shots should have looked like HD Progressive considering the DVX pumps full frame full res progressive...
But it didnt.. they were comaprable.. not to my liking, but the material was workable...

This is where the 50% misconception comes into play.. to say the DVC ONLY uses 50% res is misleading, and i can guarantee you that even the MX500 frame mode looks strikingly similar to Progressive, albeit with about a 10% noticable drop in sharpness simply due to field offsets per frame.

In the end youre still using 2 half res interlaced fields to create one frame.. and if it looked crappy, Panasonic wouldnt have offered that mode of recording..

FWIW, the Z1 can give you 480/30p and 576/25p via its component video output but not through firewire. Look at the options in the Component Downconvert menu when you are set to record in HDV mode. You could use a relatively inexpensive component > firewire capture box to get it into the computer.

Hey Boyd, I was using a Decklink with this to run some tests on downconversions for a training course i was writing up.. i wasnt impressed.. it may just be me?? I also tried it using Pinnacle LE6 BoB that looked a little better... but thats LE6.. cough gag... lol
Actually lookin at the footage on a HD plasma, i found it was strikingly sharper with the screen set to 720p but the cam set to 1080i using component

Dont get me wrong, the z1 is a brilliant camera, but the "feel" of the image just misses the mark for some reason (this is me though.. ) I only use them predominately for DigiBeta/DVCPro50 delivery, simply for the fact that their 4.2.2 makes a difference with colour grading and effects work for broadcast, and theyre relatively cheap units which offer that colour compression format.

Regarding DVC30 vs. DVX100 -- note that Jan has just announced that the rebate program has been further enhanced -- there is now a $500 rebate on the DVX100. I don't know what your budget is specifically, but that may close the price gap enough for you to justify getting the DVX...

I haven't used the DVC30, but last year Adam Wilt gave it an excellent review. One of the only things he criticized was the frame mode, which he said was accomplished using field doubling and not real progressive scan. He pointed out that this reduces your vertical resolution by 50%.

Boyd? Why would they attempt field doubling, if the resulting resolution was going to be half? That doesn't make any sense.

Here's the exact quote from Adam Wilt in the reviewFrame mode is not true progressive. It uses field doubling to give a film-like 30 fps look, but at the expense of half of the vertical resolution.

The review is available on the dv.com website if you're registered there.

Pros:
Great pictures. Flexible and customizable user interface. Huge LCD. EVF DTL. Very smooth power zoom.

Cons:
Awkward audio level controls. Frame mode uses field doubling.

Bottom Line:
The Panasonic DVC30 packs a lot of quality, flexibility, and customizability into a reasonably small, light, and affordable package.

Peter: I tried hooking my Z1 up to a 1280x768 Sony widescreen LCD and in 480p downconvert component mode I could hardly tell the difference from 1080i. It was very noticeably sharper than 480i DV mode. I also tried 480p with my 37" Panasonic plasma EDTV (854x480) and again it was a very noticeable improvement in sharpness when compared the regular DV mode.

Not sure how this compares to the DVX-100 since I haven't used one. ADS now makes the Pyro AV box which can convert component to DV25 and output either 480p or 576p via firewire. Cost is under $200 so I'm thinking about picking one up just to see how much of an improvement shows in the captured footage.

no doubt the Z1 has superior optics than the DVX.. i dont doubt that for one second and when downconverting to dvd, i find its actually quite stunning. For interlaced work, i cannot fault the camera at all.
The workflow however doesnt justify me using the m2t format for weddings though.. for corpoate, theyre paying big bux, so im more than happy to work in using cineform wavelets. They pay more money, they deserve a "better" looking product. ALot of my corporate work requires playback on PC monitors and projectors at seminars and conventions, so output to progressive scan is important. I ffind that editing as interlaced HDV then downconverting and changing to progressive mpg2 works well, but obviously it wont look the same.
even downsampling as a realtime dv capture, i still feel teh dvx is far more flexible tweak wise than any of the cameras on the market today.
I had a pre prod version of an xl2 for review for the shop, and its menu system was a lil convoluted, whereas in a Pana cam, i can literally take 30seconds to rewrite a scene file and claibrate its brother camera.

finally, I feel that its not the sharpness of the image, however moreso the colour sampling which brings out the images of the z1, compared to the DVX. i also prefer progressive scan so im very biased towards the feel of the motion. I honestly prefer full frame progressive scan at full res vs a progressive render of an interlaced source.. everyone has different likes but ive tried a combo of methods as its something i need to do...
(being a supplier here, i need to be able to offer solutions to clients)
Im just waiting on a PreProd of the HD101e before i can start pushing it... but it seems everyone is waiting for the HVX200 simply for the formats it avails compared to HDV.. afew people are very unhappy with hdv for numerous reasons, but time will tell what will work out and what wont.

as for the dvc30, i loved it.. its form factor alone was great to use as a consumer cam, as well as a pro cam, i only found afew things being problematic (for my usage) which has already been mentioned.

Peter,

I am getting my feet wet with the DVC30 and I would love to get a jump start from your knowledge and experience.

My is purely from a hobbyist perspective (family events and sports). I would like to make the best use of the 16:9 digital squeeze mode. These are my questions relating shooting sports in 16:9 for delivery by DVD:

1. Progressive or interlaced if I need to apply slow motion in my NLE?

2. I use Liquid Edition 6.1. Should I set up my time line to match the shooting mode (again interlaced or progressive) or does it not make a difference.

Any tips and things to look out for?

Thank you for your help.

Thanks for all the great responses, you guys rock! Seems like I just can't go wrong with either of these cameras... Can't wait to make the purchase! Thanks again for all the insider info!

Richie

1. Progressive or interlaced if I need to apply slow motion in my NLE?

((For slow mo work, interlaced recording is probably best,explained below> , also as it is fast sports, a faster shutter (about 120 up to 250 depending on lighting) would get you a good detail level. Also the DVC30s zoom lens will come in VERY handy for sports..
Then when doing slow motion in post, make sure processing is set to interpolate.
Check out page 2 of this thread http://www.dvinfo.net/conf/showthread.php?t=46670&page=2&highlight=reference
Its using Vegas as a reference, but you can do this with LE6 or any NLE

2. I use Liquid Edition 6.1. Should I set up my time line to match the shooting mode (again interlaced or progressive) or does it not make a difference.
((Use interlaced until youre ready to delivery to DVD. Then consider whether progressive (virtually an NLE frame mode conversion) will improve the look and feel of your presentation. Do your transcode to mpg (eithe progressive or interlacd) when you feel that the decision will improve the piece as oppsed to asuming that progressive will benefit you.

It certainly wont make it sharper.. it would pretty much look like in cam frame mode, but the fact that your doing sports, and slow motion work, your output would be a little smoother... theoretically not as "strobey"))

Any tips and things to look out for?

((Not really, just go out there and have some fun :) ))

I am trying to convince my boss to get the DVX100B over the DVC 30 for our studio and convention coverage.

So what are the main diferences in the two besides ccd size and audio?

I need to make the DVX sound like its worth the extra $1,300 to him.

Better low light,
24p ( true progressive! )
30P
built in Xlr
more control

Audio is actually the same ( if you add the xlr box and mic to the dvc30 that is )

but did I mention 24P,

The DVC30 is considerably smaller, if that's a factor.

Less detail in shadows, but the colors seem more saturated at identical settings.

hmm.. the differences.. well working with the 2 on a few projects in the past made me ditch the 30 in favour of a second 100...

main reasons being -

-colour rendition (nowhere ner as accurate or detailed in gradation as the 100)
-ND FIlters are automatically set on the 30, one thing i do not like, as i prefer ful manual control
- Low light performance really couldnt be compared as the DVX is 1/3 CCD and the 30 is 1/4, BUT its not to say its crap.. its not..
- True Porgreessive scan.. makes a huge difference
- Zero mechanical noice from the internal mic of the DVX, whereas teh internal mic on teh 30 is ON the body, so mechanical noise is noticed and recorded
- the 30 has a longer zoom.. just wish the DVX had a lens which reached this far..
- the 30 has some pissy buttons (my iris button was like a loose tooth after 3 jobs...
- Setup on both cameras is identical apart from CineGamma settings, BUT as mentioned, even with IDENTICAL settings, image quality was VERY different..
(i shot a wedding and the BMaids dresses were hot pink, the 30 rendered them as a strange red, while the DVX kept them an accurate pink
- I prefer the form factor of the DVX, as its heavier, its stability is naturally better simply due to weight
- Night vision IR on the 30 is more of a gimmick and only useful if you intend on doing surveilance or nightlife work (did a club shoot once, but results were less than satisfactory, so we jsut threw on a 35w light and had at it..
- i like the memory function of teh 30. U can set up a shot and then press the button to reset the cameras settings to a DIFFERENT shot.. much like Sonys Scene transition for their HDV cameras. Basically setup a rack focus at the touch of a button or if doing stage shows, you can have a focussed wide shot preset to the button so if your up close and the scene goes wide, press teh button, voila...
- Audio is identical to the DVX if your using the Balun
- Battery life on teh 30 is noticably better than the 100, then again, if u run both with LCD open and auto everything, then battery life wont last...
- Both cameras have incredible lenses, but ther is less barrel distortion on the DVX. Also the DVX doesnt have the kind of lense abheratoins the 30 has.. beng that when shooting into direct light the DVX can cope quite well (i usually shoot dancing sillouettes with disco light BEHIND the subject and teh flares i get on teh DVX actualy look good with some nice "star" filter like flares, the 30 however gives me vertical smearing. THis is most likely due to the CCD size



- i guess at the end of the day it all depends on what u want to use the cmer for. For teh price, the 30 is a great camera. It really cannot be compared to the DVX though... theyre different beasts fo different purposes..

Does anyone know if a '30 and '60 will match well in post?

Thanks

Yes, it is basically is the same camera, with the same CCD sensors, but with different exterior, viewfinder arrangement and a few other different controls. The DVC60 is designed to be a shoulder mount cam and the DVC30 is not.

Regards,

I already a DVC30 which I love due to it's low light capabilities for my event filming. Now ready to invest in another camera, I'm down to either another DVC30 (have to be quick they're discontinued now!) or a DVX100B.

DVC30 is cheaper plus I wont confuse my tiny mind with quickly shifting to a new set of controls \ menus when the pressue is on (albeit very similair to the DVX I am assuming). Plus of course no matching issues in post.

How does the DVX compare to the DVC30 in low light?, better due to the 1/3 chip? Do you think it would be a right royal pain matching them?

Thanks

the dvc30 is VERY similar in menu options ot teh DVX100z..

difference in low light is obvious.. theyre different sized ccd's

one thing i shoudl point out is colour matching in post.
the DVC30 is a bitch to match with DVX, despite the gamma controls, it comes nowhere near the DVX.. to give u an idea, when compared to the DVX, you will ditch the 30 and stick with the 100.. i was looking at the 30 as second cam, but when i took it out for test run shooting a wedding, the unit couldnt live up to the 100's standard. In identical light, with "identical" settings, the cameras were still vastly different to a point of not being able to use the 2 as intercut rolls.

Dont get me wrong, the 30 is a brilliant unit, but i took mine back. As you already have a 30, i say get another if DV is al you need.
If u want a throwaway camera with similar feathers and VERY similar (if not sharper) images, you could try the GS400 (stear clear of the 500)
If you wnat to go up a notch, go the 100, but dont expect them to have the ability to match without some pretty horrific tmie spent Colour correcting4got to mention, there are afew posts abotu this already, and ive written detailed responses in teh past.. do a search u might find something

Thanks Peter, I looked at the GS400 but I need low-light capability and research is showing it's lacking in that area.

Another 30 is the best option other than I'm finding impossible to source one (UK) due to it being discontinued.

Would matching DVC30 \ DVX footage be easier slapping on a Magic Bullet preset and tweaking it?

Currently I do mainly low light event shooting on my DVC30 (PAL) using 1\25 shutter speed (Field mode). 1\25 is good for me as it lessens the need for gain during my low light shoots, plus I like the look...although I'm hoping to be able to use 25P on my DVX100E (PAL) I'm soon to be taking delivery of.

When using both cameras I know I'll have matching issues, that's something I'm prepared to live with as the DVC30 will now just be used for fill in \ B roll. Plus I'll be using Magic Bullet which will hopefully reduce the difference a bit.

My question is this: What modes should I shoot with both cameras to keep and what project settings should I use in Premiere Pro to be able to use both cameras footage on the same timeline. (final output will be on DVD)

Thanks

P.S. Is the DVX100E the PAL version of the DVX100 or DVX100A?

Anyone help me on this please??, pretty please?