Will EX-1 be leaps and bounds better than HVX?

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It must be nice to be rich!
No wonder it's hard to get these cameras!
LOL

ex8.jpg
 
Hello there. Got a question about the EX1. I want to know how long the distance is in centimeters between the end of the camera (including the battery) and the screw where you can attach a tripod on it .

Here is a picture what i mean
EX1_spiderbrace.jpg

(original image by dvuser)


Could someone with a ruler and a ex1 ;), check that for me? That would be very nice. Why i ask this? Well, i modified a spiderbrace so that the camera that i have now is more on my shoulder to minimize the balast on my arms (im not that strong ;) ). But i dont know if it will fit with the EX1.

Thnx in advanced.
 
Barry_Green said:
Any of the 3-CCD HD cameras can deliver fine results, but they're certainly not necessary to be "okay" -- a 3-CCD standard-def camera's films have won the best cinematography award at Sundance three times (PD150 and DVX) and have been nominated for Oscars for Best Documentary twice (DVX 2006 & 2007).

You don't need HD. And you don't need three chips; the SI-2K and the Red and the HV20 owners would all argue against needing those.

Buy (or rent) something that does the job, but don't get too hung up on the gear because it is *not* what's going to make or break your project.

With that said, "better is better" and we all always want better. And as someone said earlier, there is no global "better". There's only "better for a specific purpose."

Okay, so let me try saying it a different way so I can avoid the whole "it's not the camera, it's the person behind the camera" platitude. Let's say it like this: If you think a better camera is going to be what makes your project better, stop right now. Because it won't. It's like what I used to say a couple of years ago when people would ask "should I shoot on film or video" -- the very fact that you'd be asking the question answers itself: shoot video. When you're ready for film, when the project will benefit from film, etc., you'll know it and you won't even have to ask. Until then, save your money.
Click to expand...

..so wait a minute. your saying that the increased naitive sharpness and slightly longer zoom range amongst other different changes of this new sony cam over my current HD cam isnt going to magically transform my feature into an instant sundance winner? .. dangit all .. there goes my entire business plan for becoming a successful filmmaker.

I'll just applaud you in advance for whenever you do your non-partisan review of the camera Barry. Its absolutely important for people to know what tool will meet thier personal needs. I just wish that they would realise that they are "PERSONAL" needs, and that nobody outside of people in the biz on the viewing end cares what tools were used to produce the work. ...since it was shot on a so and so or cut on a whatever.. its somehow redeemed as a truely viable piece of entertainment whether it sucks or not? Ive seen at least 3 films in the theatre that were shot almost entirely on a PD150 or the like. ive seen 0 from the HVX. one thing in common from all the films that made it to the theatre from lesser quality cams is that the people producing the films werent obsessing over the cameras inferiority to other offerings at the time.. they obsessed over the film, because thats really all that matters. this new cam looks to be another nice tool in the bucket. but thats where it ends. its just another tool. .. better than .. worse than. whatever. the proof is in the finished pudding, not in the ingredients.
 
That's what I've been saying right along, these cameras are just our tools. It's how you make the best of them.

Fortunately, our tools have improved. This will continue.
 
hey steve , so whats new with you and your new camera , where s all the enthusiasm and all the tests you promised ???
dxon t wanna bother you but you r kinda privileged having an ex at home i can t have my hnads on one maybe up to x mas . so please don t let all the people down who are still up to decide and ready to order or well not order ...
is it hot or not ????
what about the vingnetteing ( many ppl talked about especially you ) . the wobble (Mikko reported about) how is the workflow ........

cmon don t be greedy share your thoughts about the ex ...
 
I think that nigel guy was payed by sony. I mean look atthe review. He pretty much was trying to sell the camera, IMO.
 
mikkowilson said:
...and we are still waiting on confirmation of what outputs are available during off-speed shooting.

- Mikko
Click to expand...

Tried Component works on all frame rates.
Today I will verify SDI, but I believe Barlow said it works.

That leaves composite. Since compoenet works, I can only imagine this will work.


I have not been doing to much testing.
As many know by now, my camera has the vignetting issue.
I believe 75% do out of the first batch. At least that's what
we've seen from these forums.

Sony techs and the company I bought from have been notified with this issue.
My problem only shows in the overscan area, but it's there.
 
I will Mikko.
So far I really like this camera.
There's a LOT more testing to be done, but it's quite amazing.

I'm not returning this camera for the vignetting issue. It's in the "safe" area, but I do want the issue addressed.

It really appears for some reason the optical patch is tighter through the 10 to 25mm focal range.

Some cameras have little to no vignette, some have a even amount on all corners (very small), some are weighted to one side. As my image shows, mines weighted to the right.
 
Barry, Mikko, and other high level pro camera guys,
do you have any input on what could cause the EX1 to vignette within the 10 to 25mm focal range?

Also, knowing it's probably just in the overscan region, is this an issue you would be willing to live with?
 
I could live with it, for example by cropping it out and dropping the resolution just a little .. to. oh, I don't know.. 1440x1080 perhaps. :evil:


Seriously though. Nope, not cool. Filters vignette, matte-boxes vignette, 35mm adapters vignette. Stock lenses sure as heck shouldn't.


Well, it's an IF lens, and the actual lens elements for zoom and focus are always moving with and relative to each other. (If only one moves, then the lens breaths as changing one affects the other too).
Seems like at a certain point the paths run just a little too wide for the diameter of the lenses at some point in the chain.


An interesting test might be to set up a situation that causes chromatic abrasion - like a bright white light near the corner of the frame with a black background. And then zoom/focus the lens through the point where it vignettes .. I'd suspect that CA is at it's least when the lens if vignetting.


- Mikko
 
In the design of any zoom lens, there are a lot of parameters that need to be optimized throught the focal length range--chromatic and spherical aberrations, rectilinear distortion, vignetting, and sharpness. No zoom has absolutely consistent optical qualities throughout its range. The optical design is balanced against the speed, size, and cost of the lens. Optical problems will always be the worst at the extreme edges of optical coverage. By making a lens (and its optical coverage area) larger, you can relegate those problematic areas to outside the frame, but you don't want to make the lens bigger than you have to because it really increases the expense and weight. It looks like the EX1 optical system (lens+sensor) has very tight alignment tolerances in order to avoid noticeable vignetting within the recorded frame. If the alignment is a little off the vignetting problem looks worse. It looks like Sony could tighten up their allowable production tolerance to mostly avoid the problem, but the optical coverage of the lens can't be changed.

From your grabs, it wouldn't be an issue for DVD's or Broadcast. Showing the whole frame on the web, it would be noticeable in some circumstances. You could always overlay a custom mask in your NLE and bring up the exposure a little bit in just the extreme corners. In most circumstances, I doubt anyone but hardcore camera geeks would notice. I'd guess that Sony will offer to adjust the alignment and that seems reasonable.
 
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Well, I'm not sure if I would be very much annoyed with this, but in the overall condition, I would use the EX1 with my 35mm adapter, so I don't think the backfocus would be anywhere near that 10 to 25 mm range. Second is that most of the times you will not see it cfr. broadcast or DVD, or simply because you're not using that plane, but then again, simply put, it should work, you paied a nice amount for it, it just shouldn't have that kind of vignetting, if not everyone is having this, then you have the right to buy one that is in a good working order too. Just my 2c.
 
Thanks for your inputs!
I'm "hoping" there's an adjustment they can do to align this issue.

I'm praying it's not the inherit internal design of the lens.
If that's the case, Mikko is right, there would NEED to be tighter tolerance specs for the lens before it's added to the EX1.

Crossing my fingers that it's an adjustment.

Aerialsfilm, I agree. Regardless of the application format, broadcast, DVD, Film, Internet, this should not happen with the stock lens on a $7,000.00 camera.

There are a LOT of pros buying this for a "B" camera for the high end CineAlta cams. I'm sure they want quality.
 
Hi Stevet,

I think your answer lies to question "Are you getting your money's worth your out of box experience with the camera?"

A new camera ought to work like a new camera. I would be disappointed. If you aren't, then good on you.
 
Wow..
LOL, where did that come from.....
'Who said I was having good experience with the camera?
I've clearly stated that I have an issue and I'm working with Sony and the dealer to get it resolved. In fact i've been in contact with Sony techs. They were testing the in house EX1 as I was on the phone.
 
Hi Stevet,

What I meant was that I'd be, ah, well, ah, hum, unsatisfied...

At least, I don't think I'd be asking others about wrapping it and sending it back...

I likely wouldn't have pre-ordered either. I've had my share of beta-testing equipment. I'm tired of that, too.
 
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I'm guessing Sony's investment in the camera (and in the investment in pre-publicity Apparatchiks mimicking news writers) that a lot of the problems will be fixed.

One caution I would hold is that if some report a common problem and others don't, is figuring out 'why?'

That could become important.
 
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