Canon Vs Sony
 

Ok I am going MAD here as I am being told that the Canon XLS1 is good but the Sony DSR PD-150.

I got this e-mail today from a guy that is helping me decide.... Please let me know what you think about what he says, is there any truth to it ?

.................................................................................................... ...
My friend--there are no audio features on the XL1S--You will have to purchase an accessory box to take an
XLR connection---the Pd-150 has it built in. Other then that, the image quality of the two cameras is different. The Sony is sharper, and much better in low light--the XL-1S according so some has a more film-like look ( I dont see it) The Sony plays both DV Cam and Pro Cam tapes---not a big issue---For me, the big issue was ergonomics---I find the XL1S to be impossible to hand hold due to it's bizzare shape.

I have owned both cameras and what I have found is that they are both very good-----what is important are the following:

1. A good fluid head tripod---because these prosumer cameras are difficult to hold steady
2. An ability to light--meaning a decent location lighting kit.
3 A professional Mic--I use Senheiser lavillers and their ME66
.................................................................................................... ....

Also I am leaning towards the Sony DSR PD-150 due to the amazing 7 hour record time on one battery (Sony's lagest battery)

Please what are you thoughts

The Sony PD-150 and Canon XL1S are so ergonomically different from each other that you really can't compare them. The PD150 is a compact all-in-one camcorder with a flip-out LCD, while the XL1S is a larger, fully modular system with many interchangeable components.

Do you need a compact all-in-one or do you need the open architecture and expandibility. That's the real question.

The one that feels right in your hands is the right one for you. Try before you buy.

Also that person misinformed you about the XL1S audio features. It has a built-in 4-channel audio mixer and has more audio capabilities than most camcorders in its class.

The fact that you'll need an XLR audio adapter is a *tired argument* which is really pretty dumb. So *what* if you have to buy a $180 adapter... since when are you ever through spending money on production gear. Spending money on gear is a never-ending process, my friend, and a person who is afraid to spend the $180 on an XLR adapter is looking at a level of equipment way over their head with either the XL1S or the PD150. Don't forget you'll need a decent tripod, a zoom controller, several cases of DV tape, external mics, etc. etc. no matter which camera they're looking at.

In closing, don't make the mistake of letting someone talk you into one camera or another -- you need to do the research *yourself* and get your hands on these things *yourself* and choose the one which feels the best in your hands.

Hope this helps,

As a user of the XL1 and the XL1s I second Chris' remarks and would just add a few other points.

First, Sony makes fine cameras and the PD150 is no exceptionand. Their imaging technology is just different enough to lend footage a subtly different -default-look. Generally people feel that the Sony's have a crisper or edgier look than Canons, also a bit heavier in the blue/green giving it a cooler image. Canon's frame-mode combined with its smoother and warmer characteristics tend to give footage a bit less of a video look than Sony's. But you should note that the XL1s features quite a bit of control over image characteristics such as sharpness. So if you like your footage with sharp edges you can easily accomplish this with this cam.

Second, as Chris noted, you really should take the form-factor of the cameras into consideration. A fully-equipped XL1s has a very different balance and feel (and size) than a PD150, something to consider if you intend to shoot alot of run-and-gun handheld work. (Personally, I use the GL1 for such work.)

Third, the modular nature of the XL1 system should be a very strong consideration if you intend to do any serious professional work with the camera. The ability to get just what you need when you need it for the XL1s is a very strong attribute. If you need a manual lens for greater control Canon has a very good and affordable 16x. If you need a good wide-angle lens (rather than a screw-on adapter) Canon's 3x is also very good and affordable. If you want to shoot with prime lenses adapters are available. The PD150 offers none of this; if it didn't come in the box you can't have it.

Fourth, contrary to your friend's remarks the XL1s' audio capabilities are substantial and excellent. Yes, you'll need an MA-100 or MA-200 to get XLR connections. But the channels are clean, hiss-free and reliable. Also, look closely at where the XLR's come into the PD150 -vs- where they hit the XL1s.

But, whatever you do, don't make your decision from message boards, emails or vendor notes. This is an expensive decision that will determine your capabilities. Get your face behind both cameras. Shoot some clips and look at the footage. -Listen- to the footage with headphones. Keep your perspective on your goals for this investment; don't get swept-up in the consumerism. Are you really best served with an XL1s or PD150 or would you be better positioned if you selected a Canon GL1, Sony VX2000 or Sony TRV900 and use the cost difference for a tripod, lighting, etc.?

Pick the camera best for YOU and have fun!

Good luck.

I thank you guys for your input and you have been very helpful. I do want to have the choice to upgrade and to add features at a later date. The XLR feature is one I really need as I will need the wireless mics for my show and weddings.

There is one bad thing however and that is I can not view the cameras (XL1S / PD-150) in ANY store here as they are classed prosumer and are to costly to have in the store. Meaning I am stuck gathering information from people that have used the product.

I am wanting to achieve the following:

#1) TV / NET Show production
#2) Film Production
#3) Weddings / Family Video

So I am certain that all the features of the XL1S are what I need an am looking for.....

One concern I have is battery life.... On the XL1S how long would the largest canon battery last ? (Continuious Recording)

Also whats the best WIRELESS MIC KIT, and whats the BEST BOOM MIC I can get ? Something thats give the best quality but does not cost and arm and a leg.

Thanks again.

Where are you located exactly? You did not fill out the "location" section of your user profile, therefore it isn't possible to point you in the right direction to see the cameras yourself. Get to the next major tradeshow; you can play with both of 'em to your heart's content.

A single high-capacity BP-945 should deliver at least 2.5 hours of recording time; however Canon offers a dual-battery holder that attaches to your belt or directly to the XL1S via the Canon XLR audio adapter/accessory mount, doubling the run time to 5 hours. Of course you can always use a third-party battery solution such as a Bescor shoulder or belt pack for up to 12 hours of continuous recording.

If I were you, I wouldn't base my purchase decision around the battery capacity. As I just pointed out, third-party battery solutions can power *any* camcorder for half a day or longer. Ken mentions above that the video images from Sony and Canon camcorders are different -- above all other considerations you need to be making your purchase decision on 1.) how the camera feels in your hands and 2.) do you like how the video looks.

Wireless mic kits are a whole different ball game; you can spend hundreds or you can spend thousands, your choice. The "best" include Lectrosonics, Sennheiser and Sony for a couple thousand bucks (but clearly the "best" since they're so expensive). Under one thousand dollars, look at Sennheiser's lower end. I'm thinking hard about a $700 Audio-Technica package myself. Get ahold of a B&H catalog, big as a New York City phone book, and compare all the dozens of mics you'll find inside.

A boom mic is any mic on a boom. Once again, explore the B&H catalog. Most mics on booms are shotgun mics. Sennheiser has some excellent shotguns for under $1000. Some booms are cheap and some are expensive... audio gear is a *whole 'nother world* -- again you'll want to research and try out in advance if possible.

Never being someone who does things the easy way, I have shy'd away from auto anything.

In Manual white balance, the Canon comes out pretty neutral and flat enough to nearly match Sonys, IMO.

But on Auto WB, the Canon will offer you the "signature" warm rendition that the most pale of people will think you have made them look human once again. Yeah, it's fake warmth, but I think for weddings, it's a winner.

But if you're shooting Goths, the sony or the Canon in manual white bal., will keep them cool.

If my understanding of the green color containing more sharpness detail is correct, I think that might add to the sony's sharpness/blueness factor. Yeah, I know the Canon double samples, in essence, the greens.

My ultimate thought is that the sony's coolness may be in part to shooting asian skin tones. The Canon on the other hand may be geared more to shooting the white/black skin tones. Just a thought.

I also have read and seen that the Canon (at least) keeps lines pretty darn straight, without seeing the line go jagged when it's not level. It just looks like a straight line (off balance).

I shoot the PD-150 on a daily basis. I first was pushing my company to buy the XL-1 but it wasn't my call in the end. I am happy with the decision and I will tell you why.
SONY has flip out screen if I want to check color balance quickly.
SONY has hi-res B/W viewfinder (500 lines)
SONY has 2 XLR inputs and is capable of laying down 4 tracks just like the Cannon.
SONY has decent manual control (not as nice as I would like)
SONY has a beautiful sharp picture (it does get a little blue sometimes) sharp and blue is easily corrected with a 1/2-warm/soft filter. How do you fix fuzzy green?
SONY has DVCAM, I like the insurance the extra track pitch gives and the locked audio and SMPTE time code.

Now the XL-1 is no slouch (it was my 1st choice) but look at who uses these things professionally (read CINEMA). I see more big screen productions done on SONY and web or DVD done on Cannon by guys with more money than GOD. The "Frame Mode" looks nice as long as you NEVER try to take that image to film. Just leave it digital.
By the time you outfit an XL-1 to a level of professional movie-making (B/W viewfinder, manual lenses, adaptors for manual lenses of higher quality, XLR audio, etc) you have spent enough to buy a much nicer camera with bigger CCD's and therefore a better picture.
I think the target market for Cannon XL-1 users should be photographers who currently shoot Cannon and want to dive into DV, because for the amount it takes to get a great setup with an XL-1 you are sitting at the edge of 2/3 inch CCD's if not at least DVCPro or the SONY DSR-300 DVCAM.
I think it is trendy for bigger studios to play with DV cameras but they have been doing it with MUCH more money than I have. Have you priced the adaptor for the XL-1 to fit popular cinema lenses? It is around $7000.00+! For an adaptor to attach a $15K-50K lens to a camera that will NEVER record more than 500 lines of 4:1:1 digital video. Get real.
Buy the tools you need, when you need them. When you need more quality buy the approriate format.
Just my 2 cents worth.
Thanks,
Rhett

XL-1s color
 

Isn't the XL-1s's color sampling rate 4:2:2?

It wasn't mentioned in the specifications listed on the Canon site, so I asked them via email and was told 4:2:2...but ...?

Does anyone know for sure?

No, it is 4:1:1 all NTSC DV is 4:1:1, some PAL DV is 4:2:0 (most I think). You don't get to 4:2:2 until you hit DVCPro50 which actually means a whole lot of nothing. The SONY DSR300 is DVCAM 4:1:1 but it is a 10 bit signal and so finishes out better than a lot of 4:2:2 recorded in 8 bit.
I have read (in SONY literature) that cameras like the SONY PD100a are 10 bit but I don't belive them just as I don't believe the XL-1 is a 4:2:2. The tape format (10 micron DV) can't handle it.

I was told today by a guy at Matrix Studios (a local Prosumer dealer) that he suggests that I just get a Sony DSR PD-150 instead of a XL1S... Not only is it $1000 cheaper he said that the picture quality of the DSR is better in some respects not to mention that the DSR comes with 2 built in XLR jacks which I NEED as the XL1S you need to buy the 100 or 200 series to gain 2 and 4 XLR jacks which are $300 MORE !) Realitically I will NEVER change lenses.... Not when they cost $4000 + plus I say that the $1000 extra can purchase the Long Life Batteries as well as a carrying case and a tripod.... So in reality what the HELL SHOULD I DO ARRRRRRRRGGGGGGGG hahahaha sorry but I am ripping myself left and right over what one to get. Also he mentioned that the XL1S is geared toward the digital photographer more than the prosumer... Also the DSR supports MINI DV as well as DVCAM where as the XL1S is only Mini DV aslo he said the view finder in the sony is 10000000 times better and much higher resolution and that the DSR has a color LCD if I wanted to film that way.

I know in my heart I should get the Sony DSR PD-150 over the XL1S..... What do you think ?

Oh, no you don't. We're not going to make your decision for you. We had to go through this process...so you have to go through it, too. <g>. I have just two points of rebuttal.

1. Lenses for the XL1s do not cost $4000.
2. The salesman was reciting the Sony Sales Scriptures, some honest and some not completely forthright or whole-brained.

Nevertheless, get the camera you really want. Regardless of nit and nat features you won't be happy unless you do. You can't really go wrong with either.

I was faced with the same senario and have used both cameras. I am getting ready to purchase a SONY DSR-PD150P (Pal version) and a Century Optics 16:9 adapter with the 4x4 sunshade/filter holder. As much as I love the XL-1s, I really enjoy the PD-150's I currently use at work, It has such clean pictures and the sound is really nice. When you monitor the sound with headphones from the camera you can hear a lot of noise but it doesn't go to the tape (the headphone jack is just monitor quality).
If I want to use cinema lenses in the future I can use the same attachment that the XL-1 uses but like I posted before (in another thread) that rig is over $7000.00! Just for the adapter! It is about $1500.00 a day to rent! Don't guess I am gonna do it soon.
Best of luck to you!
Rhett

Hahahahaha I do not want you to decide for me. I just like to hear everyones VIEWS on what they think then I compare notes with the info I have gathered.

The guy was talking from personal use of both cams Matrix Studios is a studio equipment suppy shop and is in no way affiliated with Sony so I am sure he would not pull that on me lol not to mention I have enough money for the XL1S plus som add-ons and he still said what I posted earlier.... Realistically don't you think he would try to upsell me on the XL1S instead of selling me a cheaper camera ? I think so. The questions I tossed his way I already knew the answers and he was truthful on all of em :)

I mean why should I pay 300 $ more on the MA-200 XLR adapter when the Sony has 2 XLR jacks built in.....Proper Timecode, 500 line viewfinder (B&W), Flip out LCD - are a few pluses over the XL1S

Each camera has it's strong and weak points but the cost on the XL1S add-ons are crazy. The lenses are around 4 grand mind you thats Canadian price lol. And like I said I am not looking at buyin lenses any time soon and if I need them then I can cross that when I come to it. As I can always buy a new camera again at a later date and keep this one as a back up ;)

PRICES:

CANON XL1S: $6050.00
SONY DSR PD-150: $4090.00

OH One problem I have heard is the sound quality on the PD 150 is lacking (Supplied mic) something to do with a loud hiss noise .... is there any truth to this and if so would a new STERO hehe shotgun mic fix this or is it and internal problem?

I have heard about the hiss problem but I don't have it and haven't seen it. I think it was fixed. I do know that the microphone it comes with is TRASH! Chunk it and get something nice. I have 2 Sennheiser shotguns, a ME66K6 and a ME67K6 (for boom work) as well as 2 Sennheiser hand helds and 4 SHURE wireless lav's. The sound they deliver is very decent. I will reitterate that when you hook a pair of headphones to the PD-150 there is so much noise it is frightening. But that noise never goes on tape, it is from the quality of the headphone jack. (or lack of it) It does take some getting used to but if you listen to the recorded quality it is excellent. I like to run the mic's through a mixer when I can and check the sound there. Actually I don't really like to but when we have a full set going and half a dozen mic's out there, you kinda HAVE TOO. I don't want that much hanging off the camera if I can get away with it.
Whatever you do pick up a nice mic, I think most will agree with me that you can't go wrong with a Sennheiser ME66K6 (get the one with phantom and battery power) and outfit it with a Lightwave windscreen.

It's important to understand that the XLR thing is a non-issue. Forget about the MA200, you can get a Beachtek XLR adapter for well under $200. It's a little thing. At the prices for these cameras, you shouldn't concern yourself over $200. You're *always* going to be spending money on more gear, DV tapes, etc. The XLR adapter is no big deal, believe me. If it is, then you're in the wrong market.

The DSR250 does have a proper B&W CRT viewfinder however the PD150 has a B&W LCD viewfinder, which is not really any better or worse than the color LCD.

Lenses for the XL1 should cost no more than $1800.

DVCAM is important only if the rest of your gear is DVCAM. There is no quality difference between DV and DVCAM. There is no real advantage of the timecode unless you're editing the old fashioned way, linear, deck to deck.

Again, you need to try each before you buy and look at the video on a pro monitor. Pick the one that feels best in your hands. Pick the one whose video you like better. These should be the only considerations... the rest of this stuff is trivial in comparison and it's not how you should be shopping for a camera. DVCAM, timecode, XLR, all that is meaningless if you don't like how it feels in your hands and if you're not comfortable with it. Again, try before you buy. Nothing else matters nearly as much,

I am not shopping that way... I am simply comparing notes with camera glitches and problems vs what I need and what I do not need.

The prices I mentioned are CANADIAN which = a lot more than you Americans pay... TRUST ME ! For example, I was to buy the MA 200 for $350 when the DSR has 2 XLR built in .... It is just not smart shopping... Sure it really boils down to how the picture quality is and how it fits in your hands and all that jazz but it is also decided by why buy more when you not gonna use it.... Like I said I am not gonna buy lenses anyways (or not right away at least) And yea you are right about always buying add-ons and equipment (filters, lenses e.t.c) but when you compare the price differance you could turn around and purchase more equipment with the differance. For example getting a Sennheiser ME66K6 or SMK2 shotgun mic instead of being FORCED to purchase a MA 200 then a better mic on top of that ( all on cam mics stink IMO).

The total Sony package would come with:

Sony DSR PD-150
2 x 7 Hour Sony Batteries
ACDC BATTERY CHARGER
PELICAN CASE 1550
MANFROTTO TRIPOD 055A-128RC
STAND-BOOM CULLMAN
AZDEN WMS PRO
EX503 OMNI LAV
EX505U UNI LAV
SGM2X SHOTGUN
ADS PYRO DV1394

Total: $7784.25

Now to get the Canon starter kit with the above gear and camera plus the needed MA-200 and a couple other NEEDED items, it will cost me $10,469.43

I have a $10,000 budget for this project so I am already over the line with the Canon..... So I now have money left over to purchase a few cases of DV film (200 for $434 Now thats CHEAP) a few lense filters and a few more little items of use. More bang for my buck if you ask me ;)

Also I did trial run the DSR and XL1S and I found that they both have their flaws..... The XL1S is VERY uncomfortable where as the Sony is a tad front heavy... Like I said all have there good and bad points.

Okay, but once again, forget the MA200 for the XL1S. You don't need it. Any other XLR adapter will do, such as the Beachtek for less than half the cost of the MA200.

Also I don't see a lens controller on your list... it is absolutely essential for both the XL1S and PD150. Zoom rockers on all DV camcorders are worthless, and you'll need to operate the camcorder correctly (that is, without touching the camcorder) and to do this you'll need a lens controller. Plugs into any Sony or Canon DV camcorder and does variable speed zoom, focus, rec start etc. from the tripod pan handle. See my site articles for more info on these (VariZoom, etc.). Hope this helps,

hahaha your right I forgot one of the most important items :)

This a good one yea ?

http://www.varizoom.com/pages/stealth_comments.htm

Not to come across wrong but... a.) how often do you really zoom anyway unless re-framing...maybe, b.) What is wrong with the remote that comes with it? It has zoom on it. It doesn't have focus though. Does the Varizoom focus well? Is it nice and slow or adjustable? I have never used it. I have an old SONY controller that uses LANC to rec/stop/standby/zoom but it doesn't focus. I think the zoom rockers are too fast and rolling-on is not predictable enough. I would rather do it all manual but that kinda sucks too. (from a predictablity standpoint with the electric zooms). I thought breifly about looking into a VariZoom but I usually set the frame before I start filming and then move the camera so the only thing I would really use is the focus. Can I mount it to a GlideCam?

Hi Rhett,

The only time I ever use the zoom is when I zoom sloooow. Crawling slow. This is very hard to do because you have to hold just the right amount of pressure on the rocker. A VariZoom lets you "set and forget" a slow speed, and no matter how hard you mash down the rocker, that's the speed you'll go. Once you use one, you'll understand. See my VariZoom artticles on the XL1 Watchdog.

GearWorx... for what you're doing, the Stealth is not right for you. Consider the VZ-PG-L instead (new version).

Well I must say that you two - Chris and Rhett have been giving me ultra helpful information and for that I thank you.

For what I want to achieve I am sure that the Sony DSR PD-150 will fit my needs.

To my surprise I looked on my list I got from the Matrx people and he put that exact model Varizoom on there :) all it said was VZ-PG-L so I had no Idea what that was.... Untill now thanks :)

I know your probably thinking to yourself that I am a moron lol for asking some dumb questions but in my mind a dumb question is a question that's not asked ;)

Oh another question for ya I am getting the AZDEN SGM2X Shotgun mic I heard it was a great mic. What's your thoughts on it?

Also what are your thoughts about the stuff I am buying besides the camera ?

Thanks again

Having focus on remote might be pretty nice for a change. The old SONY controller I have is from a shoulder mount kit, it looks like a pistol grip. The zoom is very slow but not adjustable (ok as long as it's slow). I might see if I can get my hands on one of the Varizoom to try out.
Thanks for the tip!
Rhett

FWIW...

I originally bought a VX1000 and found it lacking in adjustability and awkward to hold. I subsequently bought the XL1s and am quite happy with it, albeit it has lower rez than the Sony. The VX1000 usually ends up sitting in the case, unused, except when I want to do a short animation.

Current Equipment list :)

http://members.shaw.ca/kloudi/equipment.htm

Thank you guys again for your help.

Let me know what ya think of the selected equipment.

I would choose a different tripod. Something with a fluid head. I have a couple and I really like the Manfrotto 3283B with the 3433 head (also known as 501) I picked it up for less than $600.00(US) including tax and it works very well with the camera you have chosen, it even came with a very nice carry bag!
I just haven't had much stability from the lighter tripods.

Good List though.

Rhett

P.S. Film school might be nice but you will learn more faster if you just spend the money on gear and start shooting. You can always buy books on technique and lighting and all the behind the scenes. Find someone near you who shoots professionally and volunteer to help and even bring your gear in exchange for some guidance. Make sure they have a style you like or try several different people. It will get you fast practical experience and that will do you more good than school.

Just my opinion.

Nice list of goodies. I agree with Rhett, though, that you really need a better tripod/head. You'll know this the first time you find you've spent an hour trying to get a smooth pan. The Bogen/Manfrotto 501 that Rhett mentioned is very popular for this size of camera. It's not top of the line, but it's a pretty good performer for a moderate price.

Ok first of just so you guys know :) I have given myself a $10,000 Budget for this new equipment (as it is a bank loan) So I want to get the BEST equipment in my price range. (I could get a $15,000 loan but I'd rather not)

Now what is your opinion on the Azden SMG 2X Shotgun mic.

Specs:

SGM-2X SUPERCARDIOID SHOTGUN MICROPHONE
2 barrels - an 8 1/8" omni and extension barrel - to make it a 16" supercardioid
Low noise (-70db)
Wide bandwidth (40Hz-20kHz)
Balanced low impedance (680ohm) XLR output
Switchable low-cut filter
Integrated shockmount attaches to camera shoe or mic stand
Plug into the 41XT transmitter to make a wireless shotgun mic
Includes 2 foam windscreens
1 "AAA" battery (lasts approx. 1000 hours) and cable not included.

I am paying $425 for it. Now quality wise compared to the Sennheiser ME66, K6 Power Supply, Outfitted with a Lightwave Windscreen MZW66PRO - which I can get for $730 is it REALLY worth the extra $300 ? I will be purchasing another Shotgun mic in the future, so will my SMG suit me fine and give me great quality ? Untill I decide to go purchase another ?

Also whats exactly wrong with the tripod and head I listed ? I am paying $230 for the set. It looks like it is a stable tripod as I am sad to say I only have had HANDS on with the DSR PD-150 and not the equipment. I am going soley by word of mouth from people.

Also for the Tripod and head you suggest ? Whats the price ?

The Sony cam has the features I will use not to mention the quality pic e.t.c so in all it is the right cam of choice :) for ME.

Re: your tripod selection...

The head you've selected looks like it might be designed more for a still camera. Here's generally what I suggest you look for.

a. Get the best fluid head you can afford. The head should have a quick-release plate and a sliding plat mount to enable you to fine-balance the camera on the head. Remember, the camera's weight distribution will change if you add accessories to the lens, etc. You want to avoid having to over-tighten the drag adjustment just to keep the head from slumping. You also want to have some degree of control over the head's pan and tilt drag such that you can set it for your preferences and camera's weight and rely on it remaining consistent throughout the day.

b. Instead of a center-column tripod try to get a leveling bowl design. The head mounts to a ball (75-100mm) which then fits into a bowl at the apex of the tripos legs. This enables you to very quickly level the camera/head without having to fiddle with adjusting leg extensions. Also try to make sure that your head has a bubble-level built in. The first time you shoot outdoors you will thank heavens you got a ball-leveling design.

c. Make sure that your legs have both multi-surface rubber feet as well as spiked feet. The latter is essential for shooting on soft ground.

I know it's out of balance with your outfit's budget but spending US$1,500-3,000 on a professional tripod for your camera's size/weight is not at all unreasonable or unusual. A Miller DS-10 (app. US$1,600) or a Vinten Vision would be a pretty good reference standard for your selection. You should be able to get a good tripod/head combination for your PD150 for around US$500; perhaps a bit less, but not much.

If this seems expensive, consider that your tripod will probably outlive your camera...and maybe even its successor.

If you look at the post I put up earlier, the tripod I listed was about $560US. I use it with my PD-150 and it is fine. There are nicer ones but the cost will go up. It has a fluid head with float bubble level and sliding quick release, rubber and spike feel and a spreader to keep it stable fully extended. The weight of the PD-150 balances quite nicely on this rig (heck it only weighs 3.5 pounds) and of course I am happy with the camera (I am getting ready to buy the PAL version and 2 more NTSC).
The price you listed for the ME66K6 is mostly eaten up by the lightwave windscreen, which IS worth the extra money (IMO). The Sennheiser microphone is listed on B&H for $379.95 and has basically the same specs as the Azden (I have never used the Azden but have been using Sennheiser's for about 10 years). The lightwave system will vary depending on what you get but you can use it on different microphones (within reason). I haven't had much luck with most of the foam windscreens, they sometimes seem to make the sound worse, but they are not all created equally.
Whatever you decide on will ultimately not change what goes on in front, or behind the camera, so don't sweat it too much. My purchasing decisions are usually made by picking the best quality I can afford (or just slightly above that) for gear I need, in the order of importance. My list would look something like this.

1.Camera- (can't shoot without one) pick a comfortable, user friendly one with features you will use.
2.Sound- (can't hear what you shot) microphones, headphones, mixer, external recorder. in that order. The first 2 are required, save for the next 2.
3.Tape- (gotta put the info somewhere) This is cheap, buy the best you can and stick with 1 brand and type. Would also put head cleaner in here.
4.Light- (the sun works too) This is very easy to cheat. Foam core, frosted acetate and bed sheets to start out. Then you can move up the lighting ladder. I was lucky in that my Elinchrom strobes (from my photography background) have adjustable modeling lights so I use them when I have to but all the reflectors and such still work for video.
5.Camera Support- I put this down here because you can always hold the camera but you can't do anything without the others. Tripod first then a steadycam of some sort. Don't buy a cheap tripod or you will regret it. I have some very nice tripods for still camera work but I would rather hand hold than use one of them for video.
Each of those catagories would have sub-catagories to consider but you can figure those out, for example:
1a.Under camera would be "Lenses". If you wan't a 16:9 adaptor put it here and decide where it goes in the scale of importance, also would be 1b.sunshade/filterholder.
2a.Under sound but before microphone is "how to get sound to the camera" in your case (PD-150) you have built in XLR so forget the BeachTek but if you have an XL-1 you need to decide what you will use.

I hope you enjoy whatever you decide on because that's what's important. Sorry for the long ramble but I hope it will help you a little.

Rhett

Ok for the Tripod how is this:

MANFROTTO TRIPOD 520MV
MANFROTTO HEAD 501

Also I was thinking FOR NOW purchasing a Unipod (1 leg) So when I have to move to make smaller shots I still have the support.... What do you think of that ? And where can I buy em lol.

Also what Mixer and external recorder would you reccomend so I know what I am looking for when I go to the stores for that in a few months ;)

16:9 - I thought the PD-150 had the option to film in this mode with out an adapter...... and if it does not (which is a bummer) what do I need in order to do this ?

A monopod is a very nice addition (after a tripod) Bogen (Manfrotto) makes a bunch of different ones and they are very reasonable in price (model 558B $75.00) and has the same quick release as the tripod.
The PD-150 does have 16:9 option but it will just cut the top and bottom of your image off (not good-low quality). You should look at an anamorphic lens like the Century Optics DS-1609-SB (about $700.00 retail) This will optically compress the picture so it uses the whole CCD when recording. You shoot in 4:3 mode and it looks vertically stretched until you put it on a 16:9 monitor. Like the old movies they used to show on TV where everyone looked tall and skinny.
As far as sound, SONY has a little DAT recorder (PCM-M1 about $800) that I have used before and I like it because it is so small but it is stereo mini input, so you are back to the BeachTek. I am trying to find a small mixer that has 4-8 inputs, and is battery powered so I can move around a little better. Right now we use a Mackie 1604-VLZ Pro which is nice and has 16 channels but is rack mounted and not very portable. I remember reading an article on 2-pop a while back about a small mixer but they have just destroyed that site and you can't find anything anymore, so I don't go there anymore. If someone can recommend one I am listening too.

Rhett

I think you'll be happier with that 501 head.

Re: the monopod, it's pretty useless for camera stabilzation. I have occasionally tried one with my GL1 but, honestly, just practicing holding the cam steady and rehearsing free moves will serve you better. Some people dangle them from the camera bottom and claim some degree of steady-cam effect. It's mainly malarkey but if it makes them feel better, why not.

ACK !!!!! hahahaha I think the blood is rushing to my head all of this equipment to buy to do what I need. I know this is NOT a cheap business to get into but I just have to great a love for film not to.

I decided to get the other tripod and the 501 fluid head like you said, spend a little more instead of fighting with it for an hour to get a smooth pan... I did that with my old analog cam one to many times.

Also the monopod will cost me $60 :) so that is not to bad at all.

I will be purchasing the:

CENTURY OPTICS DS-1609-SB

and the

RECTANGULAR SUNSHADE/GLASS FILERHOLDER DS-FH44-00

that holds 2 4x4 filters..... At a later date for sure but the list price here is $1300 just for the lense and another $600 for the sunshade/filterholder so the cash is not there right now ;)

I will post a complete list of stuff I am buying in about 30 mins :)

Ok I have come to the final conclusion on what items I am purchasing. :) Follow the link (refresh the page a few times to get up to date page) The items that have pictures are the items I will picking up all at once also two cases of DV Film (20 in all). It is costing me $9173.00 For the lot leaving me with $1826.89 which will be there to purchase the other small but needed items such as more advertising, extra tapes, cleaners, marker tape and a bunch of other small items. Also there is a list below the pictures that show a few other items I am building or plan on buying in the near future.

My Equipment: http://members.shaw.ca/kloudi/equipment.htm

I am pretty happy with the items I am buying as I am sure they will serve me well.

Please let me know what you think of my final list of goodies hehe.

I use the Mackie 1402 VLZ Pro mixer. It has excellent mic preamps (at least acording to Mackie) and will supply balanced XLR Main Out at mic levels. It is not battery powered but is a very versatile box.

One feature that we use often is to take two channels and configure them as an intercom. Using headsets, two or more crew members can be in constant communitation while at the same time monitoring the main output of the mixer. Intercom audio does not go to Main Outs but is available at the headphone jack.

I also feed camera audio (headphone jack) back into the mixer (channels muted to prevent feedback) and by pushing a couple of buttons, am able to monitor the camera without having to change headphones.

I bought a monopod but hardly ever use it, except with my 35mm still camera when using an extra long tele (which has the screw socket for the pod on the lens with a rotating sleeve so you can turn the camera from horizontal to vertical).

Oh yes, and on the Elura when I need to hold it up overhead like from within a crowd.

If you are not going to do either, I'd suggest taking the same money and putting it nto a dolly. It is amazing how much more versatile it makes your tripod.