Any attitudes towards HVX200?

T

tduncan

Active member
Anybody getting attitudes towards your HVX? Persons who believe it's an inferior camera or not worthy of "professional" gigs?

All of the negative comments I've heard were not from people who actually considered the footage quality. They primarily make judgement based on not being a shoulder mount or the size of the camera. One person said something like "cheap P2 cameras". sheesh!

I realize this is ignorance on their part, but do you find you lose gigs because of the camera's size or appearance? Or for any other reasons?

thanks,
td
 
actually quite the opposite.

The ability to provide whatever video format the client needs is what makes the hvx200 (and only the hvx200, can provide practically everything, 4:3/16:9 dv, dvcpro, dvcpro50, 720p in like 35 framerates, 1080p/i in some variable framerates) a true pro tool. Ive never heard anyone having trouble with its size or form factor.

though i remember people were shocked by how good th picture on the dvx was. they were surprised by a small 3chipper putting ot broadcast looking video.
 
I usually get very positive feedback and only a couple of recent negs. The persons who ridiculed are not who I would consider knowledgeable or experienced but ARE in a hiring position. I guess it's nearly impossible to know how much work you don't get and why not but I'm curious if others ever hear these types of comments.
 
I've had the same reactions that Tim mentions.
If anything - clients are surprised that the camera is small, but they've all been impressed with the image quality.

So instead of getting a "that's a tiny camera, why don't you use a 'real' camera" type reaction...I've gotten more of a "wow, that camera is small and the image is incredible - this is on the cutting edge of technology" type reaction.

Then again - I guess it depends where you are and who your clients are.
 
Whoa? 1080p on the HVX? I could have sworn I read the specs on it and they only went up to 720p and 1080i?
 
Daniel J said:
Whoa? 1080p on the HVX? I could have sworn I read the specs on it and they only went up to 720p and 1080i?
Click to expand...

DVCProHD is interlaced in 1080 mode, so the specs on the camera seem confusing when people read them -
it MOST DEFINITELY records 1080P (both 24 and 30 fps) but it must record it in an interlaced signal.

This is pretty much exactly the same as the DVX, which can record both 24 and 30P but always lays down a 29.97 interlaced signal to tape due to the specs of the DV NTSC format.

Make sense?
 
tduncan said:
I realize this is ignorance on their part, but do you find you lose gigs because of the camera's size or appearance? Or for any other reasons?
Click to expand...

If you are loosing gigs based solely on the camera, then something is not right. I've recently had the chance to work on some projects using the Varicam with the PS-technic and some Zeiss cinema lenses. I LOVED it, and the client loved it as well. For me is is more about what the clients budget can afford versus the quality that they desire. If they can afford the Varicam, then that is what I use, if they can afford the HVX that is what I use. I haven't found that teh HVX has lost or gained me any jobs. When you equip the HVX with the accessories needed to shoot in HD- matte box, monitor, follow focus, a 35mm adapter- etc. it gets a lot bigger and more "professional" looking. In the end, I always try and encourage my clients to use the best paint brush they can afford for their project.
 
As a DP about 90% of my work the client determines the format of the production. I shoot mostly commercials and corporate work. I get very few requests for the HVX. I shoot mostly with the dvx100 and the rest on beta sp. Probably about 98% of it is mastered on beta sp. I guess this won't begin to change until the mandated switch to HD for broadcasters. I'll be buying an HVX when the demand picks up. I just demoed an HPX 500--sweet- I'll buy one of those too when the market demands.
 
You are correct.

From Wikipedia

[edit] High definition versus digital
Digital TV includes HDTV as a subset. The FCC has not mandated HDTV signals be broadcast; it only requires digital TV broadcasts. The prevailing expectation, however, is that native HDTV (i.e. programming recorded with a digital HDTV camera) during primetime will predominate.

The $64,000 question is when do you think broadcasters will get off beta sp and what will replace it?
 
235 Studios said:
If you are loosing gigs based solely on the camera, then something is not right.
Click to expand...

I can't say I've lost gigs, maybe maybe not. That's why I am asking, to see if anybody senses attitudes out there. I've heard comments from 2 people specifically who are pretty old school types. Don't we all know someone who refuses to accept new technology or at least is slow to it?
 
tduncan said:
I can't say I've lost gigs, maybe maybe not. That's why I am asking, to see if anybody senses attitudes out there. I've heard comments from 2 people specifically who are pretty old school types. Don't we all know someone who refuses to accept new technology or at least is slow to it?
Click to expand...


Yeah, they are called "dinosaurs" and still think 1" tape and linear editing is still the bomb. :2vrolijk_08:
 
HVX200 is a very sought-after camera for independent productions. I see ads on Craigslist asking for HVX200 owners and operators.

The mere mention of "P2" will get you plenty of interest.

When I first got the camera, I wasn't all that excited but after a while y'get used to the shortcomings and just get over it. Never had anyone tell me it looked anything less than bad-ass, though.
 
i've worked with a couple directors who talk smack about the camera in comparison to their HDV cameras, but I just shrug it off. They go home with the footage from their camera and b*tch about the pixels, the compression, the low light problems and so forth. Meanwhile, my HVX that I brought to the gig and had sit in the case for the whole shoot, which I only pulled out of the case to pop off a couple shots and check light levels, gives me great footage and everyone wows over the colours.
 
Camera size can be an issue for some clients -- it certainly was for Peter Kagan when he showed Subway that he was going to shoot their Reggie Bush TV commercial on the HVX200. But as soon as they saw the footage they were more than content.

Take a look at the "Who's Using The HVX?" thread and see what caliber of individuals and organizations found it acceptable. If you have to make a case to someone as to why the camera's probably adequate for the particular job (assuming that it *is* adequate for that particular job!) you might be able to find a similar-enough circumstance on this list that may bolster your case.
http://www.dvxuser.com/V6/showthread.php?t=49352
 
For those who are hereand are teetering on what cam to purchase and are looking at the HVX, Here are some real HVX stories from the field:

Every Filmmaker/Dp has to decide whether or not the hvx is for them to purchase. No camera is correct for the situation 100% of the time. But for us, it is the right cam for the job about 95% of the time. I have been an owner op since 1993 and chose the HVX when replacing a Betacam-sp and a dvcam that were tired last year. .

There are a few things I dont use the cam for, I do not use the HVX for fast paced shoots requiring lots of difficult lens work. I shoot ENG specialty shooting for the UFC and we do lots of snap zooms with the fighters "Posing" etc. I use a varicam for this., but any cam with a real servo lens would work. (HPX-500 ??)

The HVX-200 changed our business for the better so quickly that we had to get another one with 2 more cards with-in six months of the first.

I have an Ike betacam and a Sony DVCAM sitting on the shelf that have not been used since we got the DVC-PRO-50 capable HVX's.

I use the HVX in DVC-pro 50 4:3 on the cards all the time for hard and soft broacast news pkgs. The great benefit is that I select and can edit the footage down to feed it to the networks straight from the camera. Try this with a tape based cam.

We have gained many many happy clients with this cam and lost only 1 job so far. The job was for CBS this Morn and they needed a tape in hand right away after shooting. We suggested that we could transfer at the end by using a dvc-pro deck, but as is typical of this type of client, they didn't want to try anything untested. (We were not able to rent a tape based HD camera in time for them)

This is a serious thing to consider if you do LOTS of stringer work for the networks. Many times they HAVE to have a tape at he end of the day.

One note, when using the cam in std 4:3 dvc-pro 50 /60i for broadcast Tv, (YUCH) you MUST use a wide angle converter to get a wide enough image to work with. I use the Century .6x which lets you zoom thru partially. It works great for 4:3 work.

I would HATE not to have it for 4:3 work so consider it a must have.

Make no mistake, the HVX is a "REAL" camera.

However, it must be said that for high end or broadcast clients with lots of years experience there is a real necessity to "Dress" the cam accordingly. This is just a fact and it must be addressed.

I do not strap anything to the cam I don't really need just for looks, but I do have on hand every accessory we do need to make great pics. I use our wide angle, tele and superwides whenever I can. We have a huge set of 4x4 filters plus a tricked out Chroziel 450 that really helps get fantastic images for us down here in the Tropics.

Believe it or not, I can use the HVX with my Vinten LF-100 head with XLT carbon legs. This is a very heavy super head and the legs never torque. This tripod is fantastic for smooth longshots. The way I use the heavier tripod by adding weight to the pkg. by mounting the monitor and an external Gold mount batt to the tripod handles. Putting accessories on the tripod works better than putting the weight on the camera as the center of gravity stays lower.

ANOTHER HUGE HVX plus: We use it for aerials and it is easier to handle with gyros than a shouldered cam is. I get a better range of motion than with a shoulder cam, and no movement is transmitted from the shoulder to the cam.

I have pics of the camera in the above configuration if anyone wants to see go to our site
www.digitalislandmedia.com

We use it in DVC-pro 50 & 100 mode all the time for greenscreen work.

It is a very versatile cam and thats the key to having it make $$ for you.

Steve Panariello
DP/Producer

Key West FL USA
 
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