Thanks for the tips, I will look into those options. I hope they work!

You're Welcome.

I don't like to see people struggle when there are solutions available to realize the true potential of their HD-100 purchase.

Good luck Adam.

"No native editing on the market"??

I believe FCP does that, unless you mean 24P, and even that is in the works and coming out any day now.

Yes, the stock lens has bad CA. However, I wouldn't say that "this is ALWAYS the case with interchangeable lenses" - have you tried the wide -angle lens?

The camera needs some getting acquianted with, that's why this forum is such a great resource. I couldn't have sqeeuezed the images out of this camera I'm getting without this forum. I'm happy and my clients are happy.

The best thing to do for any new HD100 owner is spend some time here going through all the issues, look at the stickies, learn form other people's experiences. It will be worth it.

*Sorry to Hijack the thread*

I got ya man, I love the forum, it helps a ton.

As for the lens, I was saying that all the interchangable lens prosumer cams tend to have less than great STOCK lenses. My point was that most users of the camera don't have the cash to buy a $14,000 WA lens. I think the stock lens should be on par with the compeditors that have built-in lenses, because a $5,000 HDV cam with interchangable lenses is not very good (because of the lens issues) while a $5,000 HDV cam without interchangable lenses is slightly better.

Know what I'm saying? I had this issue with my Xl1s back in the day, and traded up for the DVX100a, now I'm in similar boat with the HD100 as far lens goes.

The camera is great and produces a great image, it's the editing workflow that's the big problem for me at the moment.

Stephen, I just put in a order for the suggested tapes... Thanks again.

Stephen I really need to know that this is not a joke. Is it really true that a $3 tape is the best to use in this camera from your experience? Not doubting you, it's just hard to believe... :-)

"If you can talk brilliantly about a problem, it can create the consoling illusion that it has been mastered."
- Stanley Kubrick

Not a joke at all Miklos. Hundreds of drum hours on M-DV60DU tape without a drop out (4 camera's and 1 deck). We buy them by the 10pcs. brick, ususally 5 at a time.

I have used that too and find it so far to be a good tape.

In regards to the HVX/HD100 debate, I recenetly emailed B&H about trading in my HD100 towards a HVX200, and they quoted me at, get this, $2900 for a MINT condition HD100 with three hours of run time. I was appauled to say the least.

If anyone wants a MINT HD100 for around $4500, let me know because I really am thinking of making the switch.

I'm curious to hear why you're interested in making the switch.

Someone else asked me this, and here was my response:

Here are the facts:

- 3 Hours of Fan Useage
- 1 Hour Recorded

I currently only have the stock battery and 1 extra battery that is from my old JVC that lasts for half the time. I am getting the Anton Bauer Battery Package Once They Ship since I bought my camera on May 5th. It is an "A" Model.

I was ingulfed in the HVX/HD100 debate for a while. I spent many hours online comparing the two. Neither are a bad camera in any way.

I decided to choose the HD100 because of the following:
- Higher resolution
- Better Cosmetics (Set up like a REAL camera, Everything is in the right place)
- Over the Shoulder
- Best Focus Assist on 1/3 HD Cameras
- Interchangable Lenses
- DR-HD100 Firestore Compatibilty
- REAL lense with full Manuel Iris, Zoom, Back Focus, and Focus. It also has a great feature that I will miss if I switch to the HVX which is the Macro Focus. When shooting a close object this allows for the camera to focus regardless of the regualr focal length which is very cool.

For me, I should have bought a HVX for the following:
- I am a editor, and I want the P2 workflow. (People complain about HDV editing, but I have had no problem)
- I do not need interchangable lenses b/c if I need to, I will buy the M2 adapter which the HVX also fits with anyway.
- I haven't used a over the shoulder camera in a while, and I kind of want something more compact.
- I don't mind the lower resolution because I have never had a camera on this caliber anyway.

In conclusion neither camera are bad as I keep saying. There are so many reasons for wanting a HD100 over a HVX200. But for me I decided to follow after things I really didn't need or could afford (like extra lenses, although a $3000 lense by Fujinon is due out soon). I also really enjoy the P2 cards.

I also really want the 4.2.2 and the Uncompressed Audio all in one. If I can't get a good offer for the HD100 and get "stuck" I won't mind, but I really am just mad at myself for not listening to the Editor in me. Both cameras are awesome, and I would rather have the advantages of the HVX than the advantages of the HD100.

Also, I currently edit on FCP which is getting the update soon, but I really am wanting to make the switch to Avid, especially since I am graduating next year and can take part of a offer to upgrade to the Media Composer Software for only $1000.

Have you posted any of your shots? What type of work do you do with the camera?

I just started to use it and I do enjoy what it shoots. I also know that the HVX is capable of great looking images as well. My real concern is workflow. I am only a student in college and am going to start shooting shorts and the like.

I also understand that DVXPRO HD requires a lot of space, but I don't mind because I am looking for a camera to grow with, and the Variable Frame Rates, and 1080/24P really help in favor of the HVX200. I don't mind waiting until next year when I can afford a 1TB Raid.

Many film schools are also buying up HVX's from what I here.

I am new to a lot of this field, but I have been editing for a few years now. My high school had a great program, and I edited on G4's for three years on Media 100 systems.

I really love to write want to Direct my stuff, but the biggest thing for me has always been the editing. I have not had a problem with the HD100, but I want to go to Avid Xpress Pro 5.5 and next year the Media Composer and Avid shows no signs of the JVC support.

No sign of support is a little mis-guided. Avid has a full family of products that are the backbone of their HDV effort. Avid's Liquid 7.1 will cut (quickly) any framerate (including 24p & 60p) that ProHD supports, right now. Xpress Pro may or may not get the full HDV timeline. Media Composer Adrenalin will work in 30p from the HD-100's m2t's.

AFAIK, ProHD has been adopted by every major NLE for 30p. 24p has been limited to Liquid and Cineform and quasi FCP (with add-on software).

Jason,

Like most, I will not tell you what camera you should buy, but instead ask more questions, and share our experiences.

First, what cameras have you used? What works for you? Have you shot with shoulder camers (ENG), hand held, or more along the lines of the Canon XL series (cram to the shoulder and shoot)? ;)

If you shot with an auto-focus lens system then the HD100 has a learning curve, period. Although no camera is perfect when it comes to autofocus, it's an option on the HVX if you get my drift. With some work you can more out of the HD100, or so I found.

Do you entend to shoot from a tripod for those long shots? Also with no OIS on the HD100 you may want to consider it. So add a good pan / tilt fluid head to your budget. Otherwise again you might prefer the HVX. It's fine to have camera motion if that's what you are looking for, but I quickly learned with the HD100 that the tripod is essential otherwise.

If you go the route of the HD100 you should at least consider at some time buying a better lens. I say this because it works fine for starters but much like the factory battery system, it could be better. I feel the HVX has a better factory lens (no choices, you get what you got) and produces less CA, etc., but the HD100 could smoke it with better glass. It's a trade off, out of the box the HVX has great color reproduction, better than the HD100 in my opinion, but the details of that image are softer and simply not there compared to the HD100. Even with the HD100's lens being a weak point, you can still get fantastic results, it just could be better.

Someone on this board once said to "shoot with the camera you shoot best with", and I could not agree more. Specifications aside, use what works for you. Until you are sure what camera that is, keep reading the forums from both HVX and HD100 users.

We shoot with both cameras btw, but if I only had room for one in my budget and I was shooting surf and docs... it would be the HD100, hands down.

Liquid Can't Capture the 24P though can it? Or does it edit the raw .m2t

Not that it makes a difference because currently I own a Mac. I will eventually get a Intel Mac that could run bootcamp so I can run whatever editing system I want, but that is far off.

Second, I don't mind the HDV, but I really want to get out of it, and I don't want to have to caputre any footage. I like the P2 workflow better. The Dr-HD100 is a option, but again I can't get the .m2t into Final Cut or Avid Xpress Pro yet in 720/24P. I also am starting to want the 4.2.2 DVXPRO HD Codec more.

Does Canopus capture from the HD100 or can it only edit it?

Either way, I think FCP will be the first to be able to capture from the camera and hopefully it does come out soon.

I also cannot put thousands of dollars into lenses since I really would rather have a New Computer first.

I am not trying to blast the HD100 in any way...It is an amazing camera. I love many of its features, but it wasn't the perfect one for me. That's really what it comes down to, which camera is better for you since both excel at what they do.

EDIT: Can someone explain to me the difference between FCP Native HDV editing, and this Smart GOP editing that Liquid Has?

Daniel, thanks for the comments and advice. This thread did kinda get jacked huh? I dont mind, lol! As far as past cams, I started in the biz with the Sony VX2000. I loved that camera. Did a killer job in low light! I used that for about three years, it started jacking up, I had it fixed, then I sold it. Then, I bought a Sony HVR-A1U. This is actually a pretty nifty camera. It makes pretty solid images, I just want a little more manual control. So now I have it on ebay. If I could afford to keep it as a second cam, I would. I would just rather put my money into one solid complete rig.

I've never shot with an ENG style cam, and Im sure adjusting to total manual focusing would take some time, but that doesn't scare me. I was just under the impression that the HVX would be better for shooting surfing in the case that I would be slo-moing a lot of the shots down and the panny does really smooth slo-mo. The thing is, my time will be mostly split between shooting surf and wedding videography, but we also plan on shooting some dramatic work as well. I deff. plan on picking up an M2 eventually. Which camera has the best low light performance? That was another reason for me getting rid of the HVR-A1U. It was horible in low light situations, with no real manual gain. Wedding receptions man. Everybody wants the lights off, but they get mad when you put a camera mounted light in their face. Go figure. Ill eventually figure this out!

-burk

Jason, yes the HD100 did take some getting use to in regards to focusing, but now I find it anoying to use hand helds. :)

As for low light... I once again prefer the HD100 over the HVX. But then I know the options better on the HD100 and can tweak it better. We shot a very low light segment using the HVX and I hated all of the chroma noise in the source footage. They both need a lot of light. I prefer to shoot a "low light" scene with a good key light, a small amount of fill, and bring it down in post. But that's just what works for us, it's a more realistic approach.

yea that works for scripted work, but these wedding people and their crazy intimacy! lol

The HD100 is sounding like the way to go.

Couple of things for you Steve.

1. Take a look at this thread and watch the video tutorial. Liquid and ProHD are a match made in heaven for all frame rates.

2. PDF Whitepaper on Practical HDV editing. This document is 3 years old and from Pinnacle but they were the pioneer in HDV.
More information on HDV and mpeg2 (MP@HL). This whitepaper will bring HDV into perspective with other formats Click here for whitepaper.

You can order a Liquid 7.1 trial and find out how easy it is to edit ProHD.

T. Dashwood was going to make a workflow stickie for people to demonstrate/post ProHD workflows but he went MIA.

Steve, given that you don't want HDV and do want DVCPRO HD -- why do you care about MPEG-2 editing?

I think you might better compute how many P2 cards you will need in order to do a "complete" HD shoot so you could bring ALL the cards back to your computer for editing "without capture." How you are going to keep many cards ALL mounted on your computer at the same time? And how will you be able to keep shooting while your cards remain with your computer for days, weeks, or months while you finish an edit? And, what will you dump ALL these cards to before you erase them? How much will this cost and how long will it take? Who will do it?

I have experience with both cameras. Not considering frame rates and image aspects because everything have been discussed already, I'm posting my experience in the field.

There are a few things that I really don't like about the HVX:
- It's too heavy and unbalanced for a hand held camera;
- The autofocus isn't accurate and manually is much worst than the HD100;
- The iris isn't also as good as a manual lens for making corrections;
- The zoom is too slow at full speed (slower then the DVX) and starts too fast, the one from the HD100 could be faster but it's much more progressive;
- The view finder is to small and the focus assist on the HD100 is much better;
- The P2 cards are too limited and expensive, you have to carry a laptop around with an external hard drive for backups. The firestone is a solution, but you'll need more batteries and you can't attach it to the camera when hand helding. Beleive me... you'll miss tapes.
- The HD100 works better under low light.

The HVX isn't versatile, I wouldn't use it for uncontroled situations like weddings or sports. In my opinion, for what you need the HD100 is the right choice.

The HDV editing hasn't really bothered my so much as of yet, aside from the workflow. I edit on Mac, and know that the FCP update will fix the 720/24P problem, but I really want to switch to AVID in the next year. Avid Xpress Pro does not support it yet, and as far as I know the Media Composer Software can Edit it, but not capture (I am not sure on this).

I do plan on storing the files to either my Powerbook when I shoot and eventually I will buy a P2 Store. The HVX can also offload clips to a self powered Hard Drive. I would store the files on my external Hard Drive.

The JVC is a awesome camera, I just don't think it is perfect for me, thats all. I really think I need a more Compact camera.

Indeed, Diogo's assesment is right on the money:

The HVX currently is not an ideal platform for anything uncoordinated or unplanned, nor for long-form recording. There are those that use them for those scenarios, but they're also creating workarounds for the shortcomings the HVX creates in those situations.

The HD100, H1 and Z1 are all better suited to event, run-and-gun or longform recording.

The HVX is optimized for movie production (where crews are used to 11 minute film loads), commercial spots, or anything in which any single clip/scene doesn't last more than a few minutes each and where having an external monitor such as the Marshall doesn't impede production workflow.

In any case it still goes back to the original concept of choosing a system; find the one that matches your production/output needs, then consider what workarounds you will need to create for your own personal workflow/shooting style.

With two 8 gb cards and two 4 gb cards we get an hour of 720/24pn.

Without downloading.

But that's about $3500 in tape equivalent. But reusuable

I have to agree 125% here. As far as I'm concerned full manual is the only way to shoot, simply because I get better results much faster than relying on automatic, without any annoying "hunting" except when I'm having a bad day.

That's what you'd call a budget busting workaround! (laughs)

I completely agree on the need for JVC to release a 24p/60p compact camera with "one-touch" AF. There are many applications where weight, size, and "looking like a tourist" are critically important. And, with HD, AF can focus faster and more accurately than a human can using the built in VF or LCD or FA. Moreover, relatively few really are going to buy extra lenses. So, I agree completely with you on this. The HVX is a sweeit camera!

My concern is your claim that you want to work "without having to capture." Clearly, if you don't buy enough P2 cards to hold ALL your shooting, you must capture to something. Now you say you will be copying to your laptop. That's "capturing."

But for fun, do the calculations for an 80 minute movie with a 5:1 shooting ratio. (Also, try 10:1.) How many 8GB P2 cards do you need? What's their cost? The USB adaptor holds 5 cards. How many adaptors do you need? What's their cost? Can you connect these ALL to a computer at the same time?

Now compute the HD disk space you need to hold the same amount of 24p HDV. Remember, with Auto-shot detect, you don't have to do any logging during capture! Just copy the tape to HD just like you'll be doing with P2!

Bluntly put, there is no P2 workflow that works without "capture" unless you are shooting news.

Moreover, if you go read my HDV@Work newsletter from last month -- you'll learn that HDV is less compressed than DVCPRO HD "24N" and that 4:2:0 is symmetric color sampling -- very different that DV.

Lastly, why on earth do you want to move to Avid? And, yes it looks like JVC put enough pressure on Apple to get them to lie about 24p "coming soon." But Apple will do so ASAP. In the meantime, I'm beginning to like Liquid equally at only $500. It runs on a MacBookPro.

So I'd keep your HD100 and buy a MBP.

I'd disagree. Having owned both cameras and ending up keeping the HD-100 I can tell you I got CA on the HVX200 when zoomed out past 50 and wide open.

That's the exact same scenario you get CA on the HD-100. Except the HD-100 opens up to 1.4 and zooms to 88 - which allows you to create much shallower DOF - but also amplifies CA due to increased bokeh among other things.

If you zoom back to 40 and shoot at F4 you get images that the HVX simply can't match.

In the end I chose to go with the camera the worked better on the set and changed my post to Premiere and Cineform to allow me to use the better camera. That pretty much sucked because I had a G5 and Final Cut.

The big thing was I really hated shooting the HVX. The HVX is harder to focus and P2 turned out to be more of a overall pain than the HD-100. The JVC also has less noise, is a better low light performer and has better resolution.

I just batch capture the entire HD-100 tape when I get home and I've still got an archive on tape. At that point you're right where you'd be after a P2 ingest except it took an extra half hour. You still need to name all your clips and log them either way. OK - on the panasonic you can grab "that one clip" and just import it. That's cool, but once you buy a hard drive recorder even that advantage goes away. And check out all the HVXer's that are now talking about using Cineform because it's a better codec.

I was just sitting over at a friend's house watching a HD-100 stock lens feature shot by some college students without much experience. We were only watching in SD, but we just kept commenting on how great it looked. He shoots the F-900 a lot and was convinced he'd shoot his next movie on a HD-100.

Oh - and if you want a Micro35, the F1.4 on the HD-100 is really handy. The HVX noise really shows up in the Bokeh.

For the moment, if you're a Final Cut editor the HVX is much easier to deal with. But if you don't have a monitor and extra lighting on set you're going to have to live with that out of focus noisy footage forever. J/K ;-)

Both cameras have produced great stuff. Anyone who commits to one or the other WILL get great stuff by shooting to the camera's strengths and end up happy.

"Shooting to the camera strengths" I think is the key. I could not agree more. I don't think everyone will be a strong shooter with the HD100, for those people maybe the HVX is key. Although I'm not a good example of that HVX user, I can honestly say that I had to work at being a better shooting with the JVC just the same.

I will agree to disagree on the lens however. I prefer the color reproduction of the HVX over the HD100 and I have found it produce less CA, although perhaps at an optimal setting. I found less color fringing overall on the HVX and I like that. It's still a trade off as the HD100 gives me far more to work with in post with it's detail and overall latitude / color, and as an editor first, I need that more than just straight color reproduction.

On every other account I could not agree more. The chroma noise of the HVX has me shooting more with the HD100 in low light, it looks cleaner when worked in the right hands.

We are also an Adobe post house with AE/PPro, so 720/24P works now and works very well with Cineform. In some ways it's sad how the Mac community thumbs their nose at PPro, but in other ways it's good for us while they struggle with a solid work flow. =P

I think the HVX specular highlights were consistently better than the HD-100 but I like the skin tones and roll off into overexposed skin tones better on the HD-100. More than anything I want people to look good and the HD-100 has been great for that. The HD-100 just feels like it has a little more dynamic range too. I'm sure you've tried dialing in Paulo's True Color settings, right?

I'm not sure what you're referring to as color fringing though. I don't like the sharpening any higher than minimum on the JVC because of the sharpening fringing that shows up. Is that what you're talking about? I'm going to experiment with sharpening off and add it in post one of these days.

I will have to admit this finally though - for all the pixel analyzing I've done it's pretty obvious that it's all about the content. Your average viewer isn't going to notice any of this stuff. I think you could point right to the CA or lens breathing or video noise and they'd go "Ssshh... I want to watch this" if something cool was happening.

You can't really look at the P2 cards as equavalent to tape. They're part of the camera system, like a tripod, battery or lens adapter.

Tapes are consumables. P2 cards are not.

Today, hard drives are the new tape.

When the first generation JVC's were bashed by the Sony VX2000 folks, the one thing that we owners kept loving was the WAY the color highlights looked. They looked like film, not video. When a saw the FX1/Z1 video for the first time I could not believe how it looked like no more than Sony DV with more detail.

I think the way a camera handles highlights is a key to real quality. Color reproduction is another. In this Panasonic has, IMHO, beat Sony for years. And, I'm sure the HVX is no different.

When I say without Capture, I meant Injesting without having to sit through the tape, but you are technically correct, but I should have been more specific.

Well I may be coming back around after last night. I shot a quick Pitch for that FX thing, and shooting wise, the footage came out great. I also had many takes, and the Shot Detect worked fine.

I will post more a little later.

You were right about what you wrote about XpressPro though. With Media Composer "software only" coming out I'd expect you'd select that over XpressPro any day of the week. However, I use both Media Composer Adrenalin and Liquid in the workflows around here and for ProHD, Liquid 7.1 is the way to go currently. MCA will injest the m2t's as you wrote but will not capture them.

Camera specific comments: The HD-100 is as stable as a Betacam and as familiar in it's layout.

You wrote that you're in school. Are you using Bolex to create your film projects? what is your major?

Yes... not considering that for the price of a P2 you get thousands of hours on tapes! And there's always the risk of damaging hard drives... I lost all data from my PC a few times, fortunatly I have backups. I just can't imagine storing all my footage on a hard drive, I prefer keeping the originals on tapes.

You won't certainly look like a tourist with a HVX, wheight and size aren't it's better characteristics...

I've posted this before on the HVX board:

I have experience with both cameras. Not considering frame rates and image aspects because everything have been discussed already, I'm posting my experience in the field.

There are a few things that I really don't like about the HVX:
- It's too heavy and unbalanced for a hand held camera;
- The autofocus isn't accurate and manually it's much worst than the HD100;
- The iris isn't also as good as a manual lens for making corrections;
- The zoom is too slow at full speed (slower then the DVX) and starts too fast, the one from the HD100 could be faster but it's much more progressive;
- The view finder is to small and the focus assist on the HD100 is much better;
- The P2 cards are too limited and expensive, you have to carry a laptop around with an external hard drive for backups. The firestone is a solution, but you'll need more batteries and you can't attach it to the camera when hand helding. Beleive me... you'll miss tapes.
- The HD100 works better under low light.

The HVX isn't versatile, I wouldn't use it for uncontroled situations like weddings or sports. In my opinion, for what you need the HD100 is the right choice.

I agree that if you can get MC for $1000 while in school, that's a good deal. But be warned, Avid uses a 20 year old "model" interface that will drive anyone who doesn't use Avid CRAZY! Unfortunately, even Premiere and FCP have model "tools" and Liquid has three totally needless modes:

1) you need to enable Audio Edit Mode just to set/adjust/delete audio rubberbands. And, be sure to remember to exit the mode when you are done. Absurd waste of effort.

2) Liquid also has an Edit mode. Of course, if you are using an NLE you want to edit. What else would you be doing?

3) And, then there is Liquid's and Avid's OVERWRITE verses FILMSTYLE modes. Can't any NLE company realize we don't use Reels of tape, we use media; we don't drop film clips into Bins or hang them on Racks because VIDEO clips (representing data files) go into Folders; and, in fact, we don't need Timeline modes at all.

Think: there are only two ways clips are Placed into a Timeline or Removed from a Timeline. (A) Clips either shift-right upon going into or shift-left upon removal. This is best called Shift Mode, not FilmStyle. (90% of todays editors have never edited film and so have NO idea what this term means.)

(B) Non-shift Mode, where clips don't shift. The term Overwrite is simply false! Yes, if you direct the new clip into a track with a clip, the new clip MAY (given the cursor position) cause an overwrite. But, if the new clip goes into a track above a clip, NO overwrite will occur.

Moreover, despite the need for these two functions, we really don't need Timeline modes. Simply default to Shuttle operation. Then, when you want Non-shuttle operation, press SHIFT. To stay with Non-shuttle operation, press CAPS LOCK.

Modes are an evil that comes from the move from typewriters to the first primitive word processors. Programmers decided they had give users the options to Insert (push text right) or Overwrite text. In PC's you'll still find an unused INS or Insert key! Ever use it? And, what is the Home key for? (Of course, what does the RETURN key do?)

By the way, the first early `70's Wang Word Processors asked if you were "really, really sure" everytime you deleted anything. Amazingly, Avid and Liquid keep up this 25 year old nonsense. Why would I delete something if I didn't want it deleted? Today, even OS X has UNDO in the OS itself. (But don't me started on Apple's lack of a Delete key and laptops, that now run XP, that don't have both Left and Right buttons.)

Lastly, why would a programmer not assume if you click on the "space" object between two "clip" objects, that you are selecting a GAP so it could be deleted? You can't delete a gap in Liquid.

Sorry for the rant, but I've been reading Tom's Hardware's "Who designed this Crap" columns and I think we need one for video hardware and software.

Bottom-line, avoid software designed 20 years ago for film editors who had zero experience with a computer. Avoid FCP that was designed by the team who designed Premiere 1.0. Likewise, avoid Premiere Pro that copies the software that was designed by the team who designed Premiere 1.0.

Buy a Bolex and a $50 splicer. :)

To Steve Mullen: Quick Question

- What editing Platform do you use since you just about bashed every one but Canopus (Your Rant was very amusing)?

I am much happier with my HD100 after last night. In particular the Focus Assist. I was worried while shooting about focus, but everything turned out great with the Focus Assist enabled. That is something I am not sure I want to exchange for the Panasonics Zoom Focus Assist.

Also, I have a question for anyone with AVID knowlege.

Should I get the Student Upgrade to Media Composer, I know that it supports 720/24P, but the AVID guy (forgot his name) over at DVXUser said it cannot capture from the JVC (Not Supprised). If I buy the Focus Firestore, can AVID edit the raw .M2T file, or does some wrapper need to happen like in FCP. Also, the Firestore has it at a 60FPS file, not 24 so what happens then?

Can anyone explain to me what a Smart GOP Splicer is? I hear that some edit HDV better than others?

I use the Home key all the time, it zips you back to the start of a line. I do a lot of text editing and it's very useful. I don't use INS myself but I do know a few people who use it to simply overwrite something they decide to change instead of deleting it then retyping.

You want to hear about the pains of modal editing, try using vi or emacs for text editing. There are nerds who swear one or the other is superior, but I don't see how having to use different modes to write and erase text is efficient.

Although skipping along a bit off topic... I like Steves mini rant. You are a detail oriented nit-picking crusty @#$%. But that works for me as I am not far behind and on your heels. ;) Building on an old interface as Avid has done is a mistake IMO.

Back on topic, I also agree 100% with Steve on the HD100's highlights. They can be damn sexy compared to the HVX, with a lot less work to get there.


Joel Aaron - "I think the HVX specular highlights were consistently better than the HD-100 but I like the skin tones and roll off into overexposed skin tones better on the HD-100. More than anything I want people to look good and the HD-100 has been great for that. The HD-100 just feels like it has a little more dynamic range too. I'm sure you've tried dialing in Paulo's True Color settings, right?"


I don't know Joel, we found specular highlights on the HVX to be good, like the color reproduction, but nothing nearly as captivating as the HD100. That additional dynamic range of the HD100 helps enhance that "look", or so I believe. And yes, I have been using Paulo's TC settings with detial set to no greater than MIN, and sometimes OFF when I want that slightly softer look.

Funny you should bring that up Steve, 'cause last night I spent hours trying to import an .M2T file into Avid Xpress Pro HD and it gave a message saying it didn't recognize the file type. Now, I'm just starting to learn this Avid program, so I'm not sure what I'm doing wrong. If not Avid, what NLE would recognize M2T files?