HD100 Package
 

I have been pricing out a package for the HD100. It would include:

1. HD100 w/ 16x Lens
2. 13x Lens
3. HD50U deck
4. Chrosziel 450-HD100KIT w/ follow focus
Approx. Total: $20,000

I guess my question is if this package is worth the money invested. This is another package I have considered:

1. Panasonic AJ-SDC905 (DVCPro 25/50 and 4:3/16:9 Switchable
2. Fujinon Lens A18x7.6 BDERM 16:9 /4:3 Switchable with Ratio Converter
3. Panasonic AJ-SD93 DVCPRO 50/25 Switchable Desktop VTR
Approx. Total: $36,500

Granted the $16,500 difference, but I am concerned about the quality difference between the two set ups. I would rather spend $36500 for an excellent setup, than $20K for something that isn't all I hoped it would be. So I am just looking for some feedback and thoughts.

I can shave a lot of money off the HD100 package without the 13x Lens, but does that lens make that camera? Does is change/effect the CA or SSE?

This is a HUGE purchase for a small company like mine and just want to make the right choice. I appreciate the help and advice! Thanks in advance.

What kind of work do you need it for?

Keep in mind that the $20000 setup is Progressive HD, and the $36500 is interlaced NTSC. I've never shot with the SDC905, but have used the SDX900 extensively and at $3500 more, it is an amazing camera for NTSC 24P/30P/60i recording DVCPRO50.
Another difference that will affect DOF: the Panasonic is 2/3" CCD, and the HD100 is 1/3".

If you are working with numbers like this, then maybe you should also be pricing out XDCAM HD. The F330 is 1/2" CCD, shoots 24P/30P/60i at 1080 to XDCAM discs (blu-ray) that only cost about the same as a Dbeta tape. You will need the companion deck. The MSRP of the F300 is $17000 without lens, so $500 more than an SDX900, but it is 1080 resolution and may become a standard HD camera among broadcasters (CBS has already heavily committed to XDCAM HD.)

Yes, there is a huge difference. However, you should test it yourself and deem its worthiness to you for the type of work you do.

I agree with Tim and just want to re-iterate; the world is switching (albeit slowly) to HD and you might find yourself regretting having a great camera that's "only" SD (such as the SDX900). It's true that you can uprez SD footage to HD but for some people it's also the marketing value of the package. The fact that you can say; we are an HD facility, could be the difference between getting the gig or not. If not today, likely next year and beyond.

I shot so many different types of footage. From seminar and lecture, to sports and fitness, commercials. To be honest I don't want to buy anything that would prevent or trap me in any one kind of production.

Varicam Killer
 

I picked up, and have been shooting with, the JVC for two months now. It is an awesome camera for the money.

My first thought when I saw the camera and its images at a seminar in Chicago was that this thing was a Varicam killer.

It is a great camera and shoots stunning images.

Rent one for a day and try it out. Make sure that you look at the images on a Hi Def system.

By the way, the seminar in Chicago also projected images from the camera transfered to 35mm film, and they were impressive as well. They convinced me to go with it.

Good luck,

Tom Chaney

www.tomchaney.com

Because you have said this I recommend getting under each camera and actually working with some of the footage. I have provided raw m2t from the HD-100 which you can put in your editing system and "play" with (without ever touching the camera). That way you'll have some understanding of the workflow.

The HD-100 is really a transformer and as agnostic a camera as you could get. Not only do you have the luxury of HD recorded to convenient tape, but you'll also have full rez 720p60 422 out of the component out's on the camera. The extra bread you'd have spent on the SD camera could be used for a Wafian or just saved.

NAB may bring some new lens' (I'm hoping) and certainly will bring workflow for many NLE's full circle with 24p. The HD-100's 24p IS 24p and the rez and color control speaks for itself (especially with the 13x lens).

Are you anywhere near Chicago?

Actually I am in the southern most part of Illinois. Down by carbondale. I am taking all of your advice to heart. I really need to demo the HD100 and as you mentioned work with sme footage. None of my NLEs (FCP 4.5 and PP1) support it yet, but I am getting ready to order the update.

How valuable would you say the 13x lens is? I mention it costs more than the camera, would you say it worth that amount? Or should someone get a pair of the HD100s and a deck and you could cut some live venues. Just thinking out loud...

It's subjective. I myself value the 13x very highly, but I need the best optics possible for the type of work I do. If you are covering live events and not shooting dramatic work with rack focusing, or your project is not destined for the big screen, then you will probably not have any issues with the stock lens.

Tim, based on your recent rez tests, the 13X is a sharper lens.

If one was to shoot identical static footage, would it be easy to tell the 13X lens? Assuming the cameras were setup to minimize any CA.

And both lenses were set to the same focal length? It would probably be tough for the layman to pick up on the differences, but if you showed it on the big screen there would probably be a big difference.

Yes, that's what I meant by identical footage.

Tim, have you had a chance to try the lens Jonathan is using:
http://www.dvxuser.com/V6/showpost.p...4&postcount=11

It's sounds like a good deal at $2K.

Steve

No, but a friend of mine bought a brand new in box Fujinon T17x5BRM4 for $100 from a Panasonic liquidation and I'm going to test it soon against the stock and wide lenses.

I think it depends on what your shooting and how wide you need your view to be. Tim demonstrated the shooting angle difference between the 13x, 16x and 16x with wide angle adapter (attachment) and the is a dramatic difference between them. The 13x lens is very wide (70 degrees) and Tim displayed the resolving power of the 13x lens on another thead (which is much more than the stock lens).

What is your intentded use for the camera? Does it warrant the purchase of the 13x lens?

Well, I shoot interview, seminar/live events, commercials, sports & exercise, etc. So there is some fast motion, which tends to make me a little nervous when I read how the progressive doesn't repsond well to that.

One of the main reasons I was looking at the 13x is because I thought it helped quite a bit with CA and it is just all around better glass. I had also read that in the newer HD100's, JVC has pretty well done away with the SSE. Is this correct?

Remember that the camera CAN shoot 60i in SD. Both 4x3 and 16x9. So as long as your project is intended for standard definition you also have the interlaced 60 field (50 in PAL world) setting available.

But doesn't shooting in SD remove a lot of the qualities you would pick up the HD100 for (i.e. better res and colors)?

Also, has anyone used this camera on a crane/jib? I use mine quite frequently and it would be a shame not to be able to continue to do so with the HD100.

That's a myth put forth by guys who have shot video their whole lives.
I mean, let's look at it realistically, are you trying to tell me feature films don't ever have fast motion? Progressive capture of motion pictures has been around for over 110 years. I think we would have heard about it if fast motion was a problem. There are suggested pan speeds that have been in the American Cinematographer Manual for years, but they are not the rule.
The temporal motion of progressive is good, for all applications.

For what you've described the stock lens would work (I think). If you are hypercritical of your shots then you may see some CA but if you can keep off the long end and the short end of the lens and keep it in the middle of the zoom range you'll be rewarded with very accurate shots. Tim D. can speak for the 13x lens and it's capabilities best right now. To me, I can live with the stock lens because I know where it looks best. The problem with the stock lens (for me) is that it's just not wide enough. About the split screen "effect", you can be assured that JVC has optimized their calibration technique. The "effect" of the 2 register CCD being out of sync can be calibrated now with incredible accuracy. Really, hat's off to JVC for having the engineering guts to even put a 1280x720 full rez 1/3' CCD in the camera.

good luck..

Well, by definition you would be shooting SD, hence recording lower rezolution. Colours should not be affected though, as the camera is of course still using the same chip set.