GL2 (XM2) with DVX100
 

I have a DVX100, and I record a lot of music performances. I am thinking of getting a second camera, so I can cut to close ups, rather than having to zoom in. In any case the zoom on the DVX100 is limited, only equivalent to a 6x enlargement.
The GL2 (or XM2 as I am PAL) would be ideal, because of its long lens, but it would it be able to cope with the light? My last project, the DVX100 was recording with 0dB gain and 2.0 or 2.4 aperture.

Would the GL2 have problems in this sort of light?

Has anyone used these cameras together? Do the pictures match OK.

Patrick

The GL2 does well in the spotlight mode. I assume the performers are lit somehow.

As for the pictures matching not even the GL1 and GL2 will match perfectly in auto mode. White balance will be essential if you want to get close.

I'll certainly use manual white balance, and I can always adjust the colours afterwards in the NLE.
Performers are not spot lit, so that's why the lighting level is so low. How many stops difference is there in low light sensitivity between the DVX100 and the GL2? Will the GL2 need gain in this light, and how grainy is the picture likely to be?
Patrick

Patrick,

Here is clip I shot awhile back in a crowded, dimly lit club with a gl2, gl1 and xl1s.

http://homepage.mac.com/barrygoyette/iMovieTheater10.html

The gl2 is the handheld camera left of the stage. I don't remember my settings, but it was probably wide open with 0 or +6 db gain. (the blacks are a bit crushed due to the compression, but it plays well on my set at home). You'll pick up a bit of noise at +6, but this is minimized by adjusting the sharpness downwards a point or two (the gl2 seems to oversharpen a little, so my preferred setting is with the sharpness at -2).

The gl2 should be a pretty good color match for the dvx, as the chips are both from panasonic, with the color controls each camera offers, you should be able to get pretty close.

Manual white balancing on stage can be problematic, unless you can get the lighting guy to give you an ungelled spot to white balance off of. I typically use the incandescant preset and get very good results, as this allows the gelled colors to be rendered with relative accuracy.

Barry

Barry, that's really helpful. Thanks.
Patrick