It's official, Same body as VG10 but all the extras missing on the VG10.
Peaking, expanded focus, extra record button, touch screen, 25p 50i 50p lcd swivels
and you can buy the body only.

NEX-VG20 - First look review - YouTube (http://www.youtube.com/watch?v=vTy0sTCvl6g)

Official Sony video

Sony NEX-VG20 Promotional Video on Vimeo

I really like this camera. It has all the features that were curiously missing on the VG10. It seems Sony does listen to its customers.
The focusing assists - peaking, expanded focus - and manual audio control are great. 1080/60P and 24P. I like the body only purchasing option.
Anybody want to buy my gently used VG10 body?

Are there zebras or false color exposure assists?

Are there zebras or false color exposure assists?

I don't think so.

Sony style lists the VG20 as having Zebras and peaking in the specs,
in fact they seem to have thrown in the whole Handycam firmware on top of the NEX menus
which means you have cinetone and cinecolour modes as well as the NEX type picture profiles

Oops! You are correct, Paul. The specs do indeed mention zebras. Even better!
I saw a demo video of the VG20 and they never showed this feature. Good news for us, then.

Blast. No XLR inputs. I'm trying to figure out my next camera at the moment, and this one was looking like a pretty serious contender. My XH-A1 is starting to show it's age when I look at all this narrow DOF stuff out there now.

wonder if it has mic in and hdmi out

ric

wonder if it has mic in and hdmi out

ric

It has a stereo mini-jack input and a mini-HDMI out port.

Yes, it has both.
Interchangeable Lens HD Handycam Camcorder | NEX-VG20 | Sony USA (http://store.sony.com/webapp/wcs/stores/servlet/ProductDisplay?storeId=10151&catalogId=10551&langId=-1&productId=8198552921666376731)

Would you know if the hdmi output is clean ?

ric

Ric -- The specs are not clear on this, but people are recording clean VG10 HDMI out with Nanoflash and Ninja -- I don't see why the VG20 would be any less capable.

With in-camera headphone monitoring, full manual control of audio, clean HDMI out and 1080/60p -- if the VG20's new image processor is as good as the GH2 at eliminating moire...goodbye, Panasonic ;-)

Cheers,

Bill
Hybrid Camera Revolution (http://hybridcamerarevolution.blogspot.com)

I agree though I heard that a new gh2 firmware is coming down the road shortly. But I don't know if I can wait till november, not that I have an imediate need. In what do the vg20 specs outshine the gh2?

1. The VG20 has full manual audio control, the GH2 does not.
2. The VG20 has a headphone jack for in-camera audio monitoring, the GH2 does not.
3. The VG20 has focus peaking and zebras, the GH2 does not.
4. The VG20 shoots 1080/60p, the GH2 does not.
5. The VG20 has a 5.1 channel surround sound mic, the GH2 does not.
6. The VG20 has 2 record buttons, the GH2 has 1.
7. The VG20 has an APS sensor, larger and with less crop than the GH2's micro 4/3 sensor.
8. For those who someday want to rent or buy a pro camcorder, the VG20 shares lens mounts with the FS100 and its even larger Super 35mm sensor, while the GH2 shares mounts with the comparatively small micro 4/3 sensor AF100.

IMO, the specs on the VG 20 indicate that Sony is signalling that they are committed to keeping the VG model in their big chip camera line up, and that they intend on keeping it competitive going forward.
I couldn't be more pleased with the VG20 features. It does lack XLRs, but otherwise has an awful lot of what the FS 100 offers.

With most wireless receivers using a mini-plug, Sony may be smart to not worry about XLRs. It makes so much sense to eliminate cables running to talent or to a boom mic.

Unfortunately, it still has the flat buttons that one can't see. For right-handers reaching over to the touch-screen is a real pain. So it's still not going to be fun to use.

Looking at the NEX-7. I'm still interested in what it MAY offer. But, the VG20 may be impossible to beat features for video.

The VG20 & the FS-100 have the same size chip -- the dimensions are identical for the 16:9 format. Whilst true the FS-100 chips is vertically taller by a couple of millimetres, that is irrelevant unless shooting in some mode that uses a frame other than 16:9. Comparing like shooting formats, the chips are the same.

In other words, the same lens on both cameras would give the same angle of view.

I haven't compared the devices, except using their spec sheets, but I did read here and elsewhere suggestions the chip were different sizes and thought to 'correct' that claim.

Cheers,
GB

I am surprised that this release is not getting more attention. I am chomping at the bit to see these in stock.

Considering that the onboard Mic arrangement is supposed to offer superior results, and this is designed for "run and gun", they may just not have figured XLR's were needed.

This definitley raises more interest than the VG10, and given the NEX7 is at about the same price point, going to offer some serious "decision making" skills to sort out which is "better" - offhand the NEX are optimized towards stills, while the VG is the large chip VIDEO camera... Sony is really offering a lot of bang for the HD buck at ALL levels right now (including full HD capable P&S at $200), it is really surprising they aren't getting more attention!

I am chomping at the bit to see these in stock.


I am chomping at the bit to see real reviews & footage from production units.

Little bit of a and a little bit of b for me - some of the promo footage ("Northern Territory") looked very very good to me. I also saw some footage shot in Germany that looked very good, including some very nice shots of the sky - shots which would have probably turned my Canon T2's brain into mush.

I like that it has an above average mic/sound system. I had a Canon XL1 way back in the day, and I still miss how well that sucker would capture sound - I have no doubts the VG20 will do the same. Wish it had just ONE little XLR input, but what ya gonna do?

Of course it's all about the production model footage. If there's some nasty little surprise waiting out there, then I wouldn't jump. But Sony - a company I have tried very hard to avoid for it's bad rep in dealing with indie film makers and (IMO) overpriced gear - seems to have finally seen the light. The days of $100,000 cameras are on the way out.

The VG20 has the potential to steal a whole lot of thunder from Panny and Canon if there's not some crippling defect in it (and assuming there's not a "pure form video cam" coming from Canon in the shape of the Mark III).

I'd been skeptical of the E mount, simply because it was a "new" venture... but looking at the NEX7, which is a lot cheaper than I thought, or even the NEX5n, not to mention the VG20 makes me think it's worth another look.

I'm shocked at how little "buzz" Sony is getting from their latest releases, the new 24+ megapixel SLT's (A65 and A77) look pretty good (if the heat problems are solved, 29 minute clips would be pretty sweet).

Not to mention that they are now producing a second generation A mount adapter with the translucent mirror tech for auto focus capability, so there's a boatload of old glass out there, and the short flange of the E mount means you can also adapt just about any lens ever made...

For all the lack of buzz, this latest round of announcements looks like Sony listened to all the feedback and threw in the kitchen sink instead of doing the usual "give a little, leave some out for next year" approach.

60p, full manual control, longer record times, better low light performance, RAW for stills (if you're a photographer it makes sense), focus assists, touch screen interfaces for the things they work well for... lots of really seriously intriguing features this time around!

"For all the lack of buzz, this latest round of announcements looks like Sony listened to all the feedback and threw in the kitchen sink instead of doing the usual "give a little, leave some out for next year" approach."

Boy, you said it Dave. For the first time that I can remember, Sony is actually trying to get the indie film maker/event shooter. A couple of other people have mentioned the lack of hype for Sony. I think part of it is def a reluctance to embrace a company who has, for so long, ignored the low budget shooter.

People might be shocked. But the people these cams are aimed at - us - are listening,,, and so are Canon and Panny (JVC seems far, far behind the curve at this point),

Once more footage gets out there, I think you'll start to see a groundswell of positive feedback. One more note - I am positively fascinated by the Emount - that mount proves beyond any other thing that Sony is no longer totally paranoid about losing sales to glass makers. They - I believe - have seen the synergy that Canon was able to develop with indies in the last two years and with the Emount and this "2nd gen" of large chip sensor cams, seem poised to take it over.

The Japanese translated spec sheet on this camera indicates HDMI out. Also and indication that it is HD out. Can we hope this means clean HDMI for those looking to capture higher bit rate through add on units ?

I have read that the VG10 HDMI output is clean...

"(JVC seems far, far behind the curve at this point),

It seems unless a company can match Sony's big chip technology they don't have a real shot. Pana will try, but no matter how nice their camera, unless they can build a chip like Sony, they will not do well.

JVC has the option of buying Sony sensors -- if Sony sells them. For example, as Sony moves to 24MP they could do well with today's 16MP sensors. Actually, JVC would do well with last year's 14MP sensor.

Their alternative -- one we know they going toward -- is to provide 2K4K resolution ahead of everyone else. This is the non-3D path into the future for Japan and hence for us. The BBC is going to be experimenting with 8K4K -- and NHK is doing the same in Japan. So as absurd as 4K2K seems this summer, over the next year it will be introduced.

Since JVC already has 2 cameras the shoot 4K2K at 60p -- shooting at 24p is EZ. Without access to Sony chips JVC will only have the DOF possible with a 1/2" chip, but one has to wonder how long a shallow DOF will be an "in" look. To me it already looks old.

For JVC and Pana what they really need is chips with much greater sensitivity and far less noise. To me, size isn't as important. :)

"Since JVC already has 2 cameras the shoot 4K2K at 60p -- shooting at 24p is EZ. Without access to Sony chips JVC will only have the DOF possible with a 1/2" chip, but one has to wonder how long a shallow DOF will be an "in" look. To me it already looks old."

Smaller chip sizes are great for docs, news gathering, and sports (providing that it's day/brightly lit). But for narrative work, the larger sizes aren't going anywhere. I shot my last movie, VAMPIRELAND on a JVC GYU100. Two huge flaws - big depth of field, and needed bunches of light (not so good for a horror story).

I loved the cam - still one of the best looking cameras ever made IMHO, but as soon as I got my hands on a Canon T2i, the JVC was out the door. That ability to selectively choose focus is to narrative film directors as a spot light is to a theatre director - it allows you to force the audience to watch one particular actor or set of action.

Large chip sets aren't going anywhere - for one thing, they just arrived (literally only 3 years ago). And while 4K is the future, it's the distant future. One of the reason why 3D for the home has failed to take hold (besides the glasses) is that people had just invested in 720/1080 sets. Canada is only now (well, in 1 day) going to high Def. TV stations/cable companies/sat providers have all just invested millions in new equipment, but you'll still see plenty of news gathering done with SD cameras. Remember that many big networks still only broadcast in 720 - and have no plans on upgrading soon.

Certainly no internet provider wants to see 4K tv shows or movies, I can promise you that. 4K will be nice, but not at the expense of that creamy DOF most DPs/directors long for. Bottom line is that no TV stations require 4K - or even 2K - masters, and likely won't for years to come. The internet certainly doesn't need that sort of resolution, and in 10 years that's where many people will be watching all of their media content.

"Canada is only now (well, in 1 day) going to high Def. TV stations/cable companies/sat providers have all just invested millions in new equipment, but you'll still see plenty of news gathering done with SD cameras."

Much of what you say I agree with, but at the very least the sentence I've quoted is confusing: Canada has of course long enjoyed HD signals over cable and broadcast -- what is happening Sept 01 2011 is analog broadcast is being discontinued. Not everywhere, but in big centres. With everywhere else due to follow ... Digital only, from now on.

Cheers,
GB

R Geoff - that was my meaning. CBC, TVO, and other large market Canadian networks are making the OTA transition to digital Sept 1st (TVO actually made the switch about 10 days ago).

I was not aware that any network beside TVO was already broadcasting HD signals OTA in Canada (I live just outside of Detroit so I receive a great many Canadian stations).

Remember that many big networks still only broadcast in 720 - and have no plans on upgrading soon.

Certainly no internet provider wants to see 4K tv shows or movies, I can promise you that. 4K will be nice, but not at the expense of that creamy DOF most DPs/directors long for. Bottom line is that no TV stations require 4K - or even 2K - masters, and likely won't for years to come. The internet certainly doesn't need that sort of resolution, and in 10 years that's where many people will be watching all of their media content.

Several issues here:

1) Networks choose 720p60 because the clarity of motion is twice that of 1080i60. It is BETTER for sports. The same equipment can send 1080i60. It's not that 1080i60 is a step up.

2) The point of you shooting 4K2K has NOTHING to do with distribution -- although it will in the future. The point is the capture 8MP at 24 to 60fps/second. It's very close to shooting 35mm still pictures (about 12MP pixels). One wants those pixels so one can manipulate video images just like one manipulates stills in Photoshop.

One can pan-and-scan a 2MP window in 8MP. Every photographer routinely crops photos. Having that capability in video is a huge post advantage.

A 2MP window downscaled from 8MP is a super-sampling -- so one gets nearer film resolution on FullHD.

3) Just as the AVCHD spec has been upgraded to p60, the BD spec will soon be upgraded to 4K2K. Do you really think Japan is going to sell 4K2K HDTVs in 2012 without BD support?

4) You seem to think that 1080i60 delivered by the internet IS the future. No way!

That would mean folks would not need to buy new HDTVs. That would mean $50 BD players. Japan, Korea, China can't allow this to happen. YOU WILL BUY new HDTVs every few years just like you bought new TVs. My first TV was a 12-inch. My last was 36-inches. My first HDTV was 27-inch and my current are 50- and 60-inches. That's the size one really needs for HD. (See THX and SMPTE specs.)

Having used a projector for a while, I'm looking forward to a thin panel 72-inch. But 1920x1080 are too few pixels for really big wall-sized HDTVs. That's why Japan is prototyping 8K4K that the BBC is trying out for the Olyimpics.

4K2K is simply the next step. (That happens to the size used for DI in movie production.)

5) There's no way the entire optical disc industry is going to give media distribution to the internet. 3D is a short-term place-holder. The goal is IMAX presentations in your home. This let's movies (many from Sony) come to you with a quality that HDTV and the internet cannot match. Since broadcast TV is doomed, that means to compete there WILL be 4K2K distribution paths created. Do you really think Time Warner and DirecTV are going to let you get your highest quality programming from YouTube and NetFlix? Likewise, one can expect that 4K2K will be delivered by the net.

6) Follow the money -- 4K2K BD and HDTVs are a perfect feature to put Asian products ahead of low-cost internet delivery (Apple and Google). Do you really think Sony plans to let "MP3" quality internet 1920x1080 video be our future? Why would folks spend another $4000 in the next few years for a new HDTV and BD player?

7) The point of Sony's 16Mp and 24MP chips is high resolution with high sensitivity. That requires a big chip size. The fact that they offer the positive side effect (shallow DOF) for those who want to shoot "movies" is a nice source of extra dollars while they get ready to push 4K2K.

Japan, Korea, China are not interested in the tiny Indie market. I believe that's why Sony tested the water with the VG10. The reaction let them know they could make money. But, the goal of all the Asian companies is to force a complete replacement of HDTV and BD with 4K2K gear in the next 5 years and then the replacement of all this with Super Hi-Vision in the next 5 years.

I see JVC's 4K2K consumer camera exactly as I did their HD1. It was a way for consumers to shoot home movies for their new HDTVs. But, just as video producers leaped from DV to HDV -- often before they even owned an HDTV -- they will buy a 4K2K prosumer cameras. The vast majority of video shooters do not care about and cannot master shallow DOF. (I get feedback from those who buy a VG10 and then buy my eBook. So many simply don't bother to follow my instructions because when they get in the field they fall back to shooting like they always have. It's the photographers who are willing to "bother.")

PS: I still believe the FS100 chip's specs were not fully revealed by Sony because it will be used for a 4K2K camera. From day one I have thought the FS100 will share the same fate as the VG10. A production run for Sony's 4K2K camera.

Steve - I respect you and have read many of your posts. But I do think your oversimplifying things....

1. You said, " Networks choose 720p60 because the clarity of motion is twice that of 1080i60. It is BETTER for sports. The same equipment can send 1080i60. It's not that 1080i60 is a step up."

That's certainly one view, but certainly not a universal one. There is a nice debate on this very forum about that subject:

http://www.dvinfo.net/forum/general-hd-720-1080-acquisition/40283-difference-between-720p-1080i.html

2. What resolution you shoot at does have a lot to do with distribution - One, in will your video be accepted by a network? Two, assuming yes, if you shoot in a low rez format, will it have to be uprezed (a step that 720p footage is often forced by distributors to do). If you shoot in 4K, then obviously downrezzing will have to be done.

Point is, unless you're shooting at the exact resolution and color space required by the end distributor, it matters. I do agree with your basic thrust however - more resolution is by in large better for those who are acquiring the raw footage.

3. "Do you really think Japan is going to sell 4K2K HDTVs in 2012 without BD support?"

I guess I was pointing out that just because a new product or method exists, it does not mean it will be accepted by the public at large, using 3D as but one example. And chance of acceptance would seem to be lower if not major network is using 4K - which you'd think would be 10 years or more given their large output of cash to achieve 720/1080.

4. "You seem to think that 1080i60 delivered by the internet IS the future. No way!"

Who knows what the internet's eventual delivery system will be? I certainly don't. But until better compression schemes are developed, the higher the resolution/file size is, the more bandwidth it will take up (and all of the associated problems that come with it). Many internet providers are already capping bandwidth, so it's certainly an issue right now, today.

If you know you're product is aimed at the net as it exists in 2011, 4K acquisition/resolution is not going to be a top priority.

5. While I don't think that disk media will die anytime soon, it has certainly been badly wounded. A simple Google search will reveal scores of articles on how the internet is killing the DVD, putting video stores out of business, and even possibly killing porn as a viable business model.

And OTA broadcasting is far from dead - in fact, with the bad economy it's made a rather nice comeback:
Antennas Direct | Rabbit Ears are Making a Comeback for 2011 (http://www.antennasdirect.com/blog/rabbit-ears-are-making-a-come-back-for-2011.html)

6. You make my point for me - I agree, not many people are going to drop any more money on better tech right now.

7. "Japan, Korea, China are not interested in the tiny Indie market."

Then why would Sony, Panny, JVC, and Canon all make dozens of products aimed directly at that market? Why have a video feature at all on high end still cameras? Why the existence of the VG10/20, FS100, F100, AF100, entire JVC GYU lineup, Sony XL series, et al? Why do these companies take out full page ads aimed directly at indie film makers for those products in no interest?

Not to mention the hundreds of small companies that have sprung up to provide everything from matteboxes to lenses (Samyang a really example). What about the Chinese telescope company that just showed off their new 2K camera (KineRAW-S35)?

Suffice it to say that I totally disagree with your above statement.

"I still believe the FS100 chip's specs were not fully revealed by Sony because it will be used for a 4K2K camera. From day one I have thought the FS100 will share the same fate as the VG10. A production run for Sony's 4K2K camera."

Now that's interesting... and I tend to agree with you - the FS100 is a strange bird.

Many good points, but:

1) The ONLY networks that have gone 720p60 are sports networks (the many ESPN channels), FOX, and ABC. These networks chose motion resolution over spatial resolution. Stations like 720p60 because the needed bandwidth leaves room for one or two SD feeds. And, since there has been no 1080p60 -- 720p60 was the ONLY way to get away from interlace without the motion judder of 1080p24.

2) Because Europe distributes by H.264 they can move directly to 1080p50. Sony has been asking Europe to WAIT for 1080p50 and not go with 720p50 -- and I don't think any have gone with 720p50.

3) Over the air is doomed because the govt is auctioning-off the valuable spectrum to mobil operators. The govt is proposing to dump TV off of channel 51. With 80% of us NOT using the over the air channels -- the "public good" is in more mobil bandwidth not TV bandwidth. Of course, with the bad economy folks have refused to pay high cable bills and are trying to use antennas. These folks are not potential buyers for all new gear. They are an "underclass."

4) Distribution ALWAYS requires recompression. HDCAM-SR is not a format used for editing. Better to downscale while recompressing to HDCAM-SR. What you shoot has nothing to do with distribution.

5) The whole big chip indie camera market is an accident. Canon wanted to add minimal video shooting capability to its still cameras. That's why the first and generation models were such a bitch to use and, other than shallow DOF, offered crappy video quality. The VG10 has way more aliasing than we would accept from a small-chip camcorder.

=================

BUT, now the reverse case. The Asian companies have no choice but to assume the world of the future will be like the world of the past. In their view they simply need to make huge improvements is quality and we will buy into it. Increasing resolution and frame-rate are time tested ways of growing sales. But, then audio cassettes introduced mobility. Kids now seem to have no interest in quality -- mobility is the key.

So MP3 music through crappy earphones is fine by them. Watching massively compressed video on an iPhone is fine. If this trend continues, the Asian electronics companies are in deep trouble. Frankly, most folks will shoot everything on their iPhone 5.

Confirmation of this alternate:

"Research firm IHS iSuppli has issued a report saying only 13 percent of U.S. consumers who didn't purchase a TV in the second quarter planned to buy one in the next three to 12 months. The number of likely buyers fell from 32 percent in the first quarter. Even worse news for TV makers, IHS iSuppli found that 83 percent of survey respondents said they did not plan to buy a new TV in the next 12 months.

The research firm said the intent to buy is the lowest since it began asking these questions in 2010.

"The findings suggest a growing willingness among U.S. consumers to suspend -- if not totally abandon -- their ongoing love affair with the television, the primary entertainment device for many American households," said IHS iSuppli analyst Riddhi Patel. "A sort of wait-and-see attitude has taken hold -- whether it is waiting for the economy to improve, or for television prices to fall some more, or for the arrival of better deals that combine both reduced prices and high-end TV features."

New TV features such as 3D and Internet access were not considered important in luring potential buyers to the store. The research firm surveyed 45,000 U.S. households."


But, there is an opening for 4K2K and BD. "iSuppli said consumers who are looking to buy a new TV are most influenced by PICTURE QUALITY, price, and SCREEN SIZE. "

Bottom-line, 4K2K is the only "new" thing Asia can offer to get folks to buy new HDTVs. And, I believe most camcorder buyers will go for 4X more resolution (and 60p) than shallow DOF. But, Sony won't make us choose. We'll get both.

PS: The VG30 can easily be 4K2K. 16MP chips can deliver 2MP (8X reduction) or 8MP (2X reduction). 24MP can deliver 2MP (12X reduction) or 8MP (3X reduction). In fact, 24MP is perfect for 4K2K. Watch for 4K2K in the VG30 and FS200 and F3 once they all move to 24MP sensors.

Hey Steve, kinda of a fun debate huh? Only a couple of points, dealing with OTA. While it's true President Obama is pushing for the sale of the higher freqs, it's not a done deal yet, and there are many ways set up to help protest this movement, including good old NAB:

http://www.tvnewscheck.com/article/2011/07/28/52851/nab-runs-full-court-press-on-auction-action

Congress.org - Soapbox (http://origin-www.congress.org/soapbox/alert/51794661)

That said, many broadcasters have protected themselves by moving to lower freqs during the initial transition to HDTV (at least in the Detroit area - yup, no cable for me - just OTA).

Far as the VG20 goes, will it be something indie film makers will be able to embrace, or have you seen something in the specs/released footage that gives you pause?

The 20 is what the 10 should have been. I'm glad I skipped the 10 and wrote my sBook primarily on the NEX-5.

But the unanswered question is can you see aliasing.

And, will the new NEX-5 still offer greater value. Given the horrible no-see touch buttons on the 10 and 20 I'm betting on the NEX-5.

But the sleeper is the NEX-7.

PS: OTA is OK if you only want networks, but how about: AMC-HD, BBC-HD, CNBC-HD, CNN-HD, HBO, MSNBC-HD, TCM, and about 20 more HD channels.

I think 1920X1080 is enough After all this can be projected on a massive cinema screen. I already think HD highlights details on people that is exaggerated and can make actors look awful. I think we already reached the point of what the eye can see already.

MANUFACTURERS
This is what I believe the future should be. 37" TV that costs little to run and that folds out to 2:35 and 80" Screen size for HD films. I think its also about time sound quality was on the agenda.

Interesting thread, I dunno about this cam, the first Handycams were pocket size things for the general consumer public.

This NEX-VG20 Handycam falls in between the consumer and prosumer/pro cracks .. large size, multiple lens but no XLR inputs.

Maybe Sony are following the car industry, the BMW 3 series is now as large as their 5 series, so BM brings along the 1 series. Soon we'll see a new tiny Handycam for the public again or have the phones taken over that role.

Video made me feel homesick tho. The light in the southern hemisphere IS brighter than the north.

Cheers.

I think 1920X1080 is enough. After all this can be projected on a massive cinema screen. I already think HD highlights details on people that is exaggerated and can make actors look awful. I think we already reached the point of what the eye can see already.

When I first saw Sony HDTV in Tokyo in 1986 I thought so too. I called it "Hyper Real."

I've 1080p60 on an OLED and it was wonderful!

I'm told 8K4K, UHD, provides a near 3D effect because one is looking through a virtual window.

2MP is way too little. About 1/6th of 35 film.

In fact, while HD has about 5X more rez than SD -- 35MM film (e.g., slides we all used to shoot) has about 5X more rez than HD. We won't get the fine detail we're used to seeing in still photos and movies until we can capture 8MP to 16MP.

That's why NHK is researching UHD and 4K2K is the next step on the way.

Steve - just can't justify spending $1,500 a year on TV.... Plus, OTA does have some advantages:

- Cost. I've spent about $200 for various antennas over the past 3 years - a cost that pales to the $4,500 in cable bills I've saved.

- It often looks better (Comcast compresses the heck out of their signals). The difference is very apparent during live sports - many of my friends now come over to watch a game b/c it does look just that much better.

- It's "live" - there's usually a 5-10 second delay (which comes into play if you're watching a game, but listening to the radio broadcast),

- Channels not usually available, like aux channels and stations from far away towns.

- You don't have to deal with nasty customer reps.

Yeah, I miss about 6 channels... but you can download most of that programing, which is what I do.

Far as the higher resolutions, it's coming, no doubt about it. And if the light sensitivity is equal (or nearly equal), what DP/Director wouldn't want that higher resolution? But it's not quite here yet - at least not in a sub-$10K camera.

That in part is why I'm so interested in the VG20 - if it can delivery a solid, 1080p image close to a FS100 or even with the current line-up of Canon DSLRs, that's enough. Just don't want to invest $5 grand plus on a cam that I KNOW will be totally obsolete in 3 years.

And hopefully, the mini-mic input - combined with that cool 5.1 in cam mic set up - will be good enough not to have to drag along a zoom.

I completely agree on being careful about rushing into buy anything really expensive. The VG20 seems safe although the NEX-5N offers almost everything for under $700. I don't need 5.1 sound. I much prefer the rear mounted NEX-5 controls and the option of the super hi-rez VF. So I likely would still go for the cheapest that delivers the same quality video as the VG20.

Then get the new transparent mirror A-mount adaptor and buy old lenses.

In Las Vegas from COX I get 30 HD channels. Interestingly, compression artifacts on sports doesn't happen with 720p60. 720p60 needs only about 15Mps of the 19Mps.

I love my Canon DSLR, don't get me wrong, but after a year and half of using it I'm very ready for a "true" video camera form factor.

Even though the VG20 doesn't look much bigger then a DSLR, I'm guessing it's gotta be a little easier to just shoot video with. And the ability to still shoot stills is one that I know 'd use.

I just got through shooting a horror type flick in a shack with a single light bulb. Interior shot for night but during day. We blocked off all windows... I shot with the 5 d, mostly with single bulbs light fixtures. We knew it was going to black and white so color correction wasn't big issue. But the 5D was spectacular in the low light situation.

While I have gotten pretty good wih the 5D, I too would like the VG20 to be its replacement in many shooting situations. But I doubt its going to outdo the 5D in low light.

Any info on whether or not the mini-HDMI out will be clean? Looks like it's not on the 5n....

Which is going to be a make it or break feature for a lot of shooters. Hope that some of the added price of the VG20 means the HDMI output is clean.

I would like to know if Sony will let the VG20 use something like the HXR-FMU128 for backup purposes; I know it would eat lots of FS100 sells and probably it won't happen but one can only wish...

The spec for the FMU 128 is that it is a device made specifically for the Sony NX5.
That suggests that it probably will not work on any other cameras.
But there are other back up devices that should do the job.

The manual specifically states peaking is NOT sent out the HDMI. The VG10 was clean.

I wonder if the 60i / 50i is now "real" as the VG10 produces 50i / 60i which has identical fields, so its still really 25p, 30p - this impacts some of my slo mo work - and the aliasing on the VG10 is awful - I'd love to see if it has improved on the VG20 body

Paul

I have been using the 5N (only in 25p so far) which IMO is much improved on the Video side compared to the VG10/original NEX5

Aliasing on the VG10 drove me crazy, the 5N, is not perfect but VERY much improved and does not crop the picture anymore!, in-fact the picture is so much better, I have started to get very excited about the VG20, with the same chip and quality of the 5N plus the cine gamma and zero gain control it should blow the VG10 away!

What about the Chinese telescope company that just showed off their new 2K camera (KineRAW-S35)?

You can see some footage shot in the KineRAW-S8p (tm) camera, 2592x1104x12bit@24.000fps full 100% True RAW uncompressed at about 103MB/s data rate, that gives about 9 minutes of non-stop recording on a 60GB SSD, you can dump to a HDD in the other slot, I was using a 500GB 2.5" notebook drive to dump to.

KineRAW-S8p (tm) lens test reel #A2 w/o links on Vimeo

KineRAW-S8p (tm) 2.5K lens test reel B1 on Vimeo

The camera shoots many resolutions and frame rates from 1fps to 220fps. It shoots 2.35:1, 2:1 (2400x1200), 16:9 (23.976, 24, 25, 29.97, 59.94).

In 2.35:1 there are 48fps and 72fps to reduce rolling shutter by skip printing.

It also shoots standard 2K anamorphic 'Panavision (tm)' Cineon (tm) and Celco (tm) 1828x1556 resolution for transfer to 35mm printing negatives, I'm working on a video to demo that now.

If you would like to see some of the uncompressed BMP frames used to make the videos, you can follow the instructions on my Vimeo page for the videos.