Justin Kuhn
Veteran
Well if you want the future of the HVX, it will have a built-in NLE.
The future of HVX
- Thread starter arrestthisman@comcast.net
- Start date
Barry_Green said:
Sorry Barry, but I have a question relating to those things. Arent these cams designed in Japan? I dont know so I pose this purely as a question.
Barry_Green
Moderator
Yes, mainly, but the US division employs camera engineers too. And while they're largely designed in Japan, they're largely sold in America and Europe, so what our market wants has large bearing on what the engineers build. The trick was understanding what the market actually wanted, and gauging what that would mean for sales, and then making the factory understand that. I bet Stuart and Jan had quite a tussle getting Japan to understand why they should build 24p. From what I understand, they eventually successfully explained to the engineers what type of sales were possible if they just *did it anyway*, and they did, and I guess from the Japanese perspective it was a big gamble, but one that they won big on.ncje said:
Barry_Green
Moderator
8 weeks. HPX500. 2/3" HVX with interchangeable lenses.dogmeat said:
mule ferguson
Well-known member
Hey Barry. How many weeks on the HPX2000/
Mule
Mule
Barry i bet youve got it on a count down timer... lol.Barry_Green said:
Are you buying one? I know my next camera will be a 2/3" cam. maybe 2-3 years from now.
hvx_germanboy
Well-known member
TimurCivan said:
Barry is buying no cameras from Panasonic at all,
he is getting them for free, for his great work and influence...LOL too....!
i highly doubt that. I dont think anyone from this site gets "sponsorship".
John Trent
Well-known member
Barry_Green said:
I can believe that. As I understand it George Lucas had a time getting Sony to make the HD 24P CineAlta F900.
I just wish RED would come out with a budget - $5,000 or under model - then we wouldn't have to wait for Japan to figure out what moviemakers want.
Barry_Green
Moderator
Those are on the market now, but apparently they're in short supply because of the Fox deal; Fox bought bazillions of 'em.
I'm seriously considering a 500 for the JDS pic. I really like the sensitivity, the DOF, etc. Then there's RED. But the RED will cost $10,000 more, and will be an unknown quantity, with an as-yet-unpredictable delivery date, whereas the 500 will be ready and is very familiar.
Then again, I was really impressed with how well we got the HVX to match the HPX2000, so do I really *need* a bigger cam? But then, hassling with a 35mm adapter and its attendant light loss and no zoom and such, vs. using a more-sensitive, sharper, zoom-equipped 2/3" cam... bah. I don't know yet. Depends on how much this pic ends up costing me, and how much we can raise externally!
Well, i'll tell you this much barry, Shooting KAtrina was a Breeze with the right tools, and we got by fine with a 650W Key, and a 2k out doors. Dont abandon the HVX just yet.... Our little darling is plenty potent.
Dennis Wood
DVXuser Sponsor
Barry, you need to check out Aram's run'n gun clip (using an El Cheapo Sears brand, f4.5 zoom no less) and the HVX. It was his first time using the HVX with the adapter. Maybe there's hope for an HVX workflow on your project 
If they were to make it... and i was the head of the design team, i would keep the 35mm sized Mysterium chip, but Hoble it to a 16:9 patch and make it 1080P, but one that uses 35mm sized Chip. That would make for an AWESOME 1080P Camera. something that Rivals the F900, or the soon to be HPX2000 class of cameras. make it like the 35 adapters, you cn have a choice of lens mounts. Nikon, Canon, Pentax, Minolta, PL, OCT19.
I'd sell my HVX today, and buy that if it existed. But it would need to offer Vari framerates, and multiple resolutions like the HVX does. As a DP i need the flexibility.
I'd sell my HVX today, and buy that if it existed. But it would need to offer Vari framerates, and multiple resolutions like the HVX does. As a DP i need the flexibility.
Dennis Wood
DVXuser Sponsor
At about 13mm x 22mm frame, the RED's mysterium chip is capturing a frame much smaller than the 24m x 36mm that a film SLR lens is working with. This means that an HVX/adapter combination would still be better if shallow DOF was the prime consideration.
Or, you could use the 35mm adapter on the RED
rogar-Shock(DBG):
Or, you could use the 35mm adapter on the RED
rogar-Shock(DBG):
well its capturing S35mm. Motion picture film planes are smaller because of the Vertical orientation of the film reel. The 35 adapters Brevis/SG/Letus ALMOST give a Vistavision like horizontally biased picture plane. Whic is pretty awsome because it ensures the 1080P cameras, HVX/H1/Z1 are getting the most resolution per square milimeter.
lemme ask you dennis, last time i used a brevis, the image plane was very small. has the GG area become larger lately?
lemme ask you dennis, last time i used a brevis, the image plane was very small. has the GG area become larger lately?
Dennis Wood
DVXuser Sponsor
The image plane has always actually been larger than the 24x36mm standard as we've attempted to optimize the 16x9 frame within the 35mm lens image cone. This wider frame is not always usable with slower lenses due to edge falloff, however, our new prototype imaging elements have already addressed this issue with significantly improved light recovery at the periphery. The new elements will also allow pushing the envelope (with respect to the 16:9 frame) on the S35 image cone of PL and OCT19 lenses.
Perhaps the HVX just stands out with the adapter due to it's great image, but it's also got great flexibility (much better then my XH-A1) with respect to close focus/framing. Ever since Bob Gundu did the first "real" HD shoot with the Brevis, I've been very impressed with the HVX.
Perhaps the HVX just stands out with the adapter due to it's great image, but it's also got great flexibility (much better then my XH-A1) with respect to close focus/framing. Ever since Bob Gundu did the first "real" HD shoot with the Brevis, I've been very impressed with the HVX.
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gunleik
Well-known member
I think this discussion is kinda fun and I am waiting for HVX owners to sell, I could use one or 2 more, even with the Red coming down.
To film with the Red is going to be far mor expensive than setting up a 3-cam shoot with HVX'es and also need much more qualified (and expensive) staff.
Thus:
More HVX'es, possibly a 500 and Red for fun and high-end.
Gunleik
To film with the Red is going to be far mor expensive than setting up a 3-cam shoot with HVX'es and also need much more qualified (and expensive) staff.
Thus:
More HVX'es, possibly a 500 and Red for fun and high-end.
Gunleik
Antoine_Fabi
Well-known member
Barry_Green said:
Well, ... i reserved a RED, and i can't wait to use it.
...BUT believe me i'll keep my HVX.
Man, i love that little camera.
I never had that much fun doing commercials before the HVX.
...and the results "on the air" are just great!
I think that with proper attention to contrast management, it can deliver stunning pictures.
I am very curious about the difference between the HPX500 and the HVX200.
I like the idea of using modified SDX CCDs (spatial offset).
The SDX has a extraordinary SD image.
so maybe, and it's pure speculation, but the HPX 500, with it's bigger pixels size (although less res), could very well produce a more "solid" image tthan even the HPX 2000.
That will be very interesting!