HPX500 vs HVX vs RED/Scarlet?

dory_breaux

Todd Wannabe
Hey, its ways off, but I believe one of those may be my next camera.

Could anyone tell me what the major differences are between the HPX500 and the HVX, besides the obvious interchangeable lenses and larger sensor (and larger cam haha).

Also, anyone done a RED vs HPX comparison?
 
Run some searches here... there's several very detailed threads about 500/200 differences.

500 vs Red, yes, it's been covered also. But that's even more apples/oranges than 500/200 comparison.

Why not also ask to compare the 500 to an Arriflex D-20?
 
All of the cameras you listed have completely different applications.

RED is a digital cinema camera that will drive you nuts if you shoot eng style-"but its 4k!"

The HVX is a professional handheld

The Scarlet is who knows what

The HPX500 is an affordable full-size broadcast camera

Forget everything about video cameras for a second...

What do you need? Do you have to have the absolute best image there is? Do you want a flexable system? Do you want your camera to turn on in less than a minute? What projects do you take on? Do you clients care about what you care about?

Its time to stop thinking like a camera guy and get real. (I say this of myself also)

We ask the wrong questions.
 
My top three needs from a camera are:

HIGH RESOLUTION

real progressive overcranking

large color space and little compression, as I love to play with colors (albiet subtly) in post.

I shoot mostly extreme sports stuff, skiing and mountain biking for the most part. Sometimes however I will do narative shorts that have little to no dialog. Sometimes I just go out and take shots of things i find interesting.
 
I shoot mostly extreme sports stuff, skiing and mountain biking for the most part. Sometimes however I will do narative shorts that have little to no dialog. Sometimes I just go out and take shots of things i find interesting.

Then the RED camera is not the camera for you. you don't just pick up that camera and start shooting.
 
I am also still considering the option of getting an SR2 or SR1 (as budget allows) because film is film, and always will be.
 
HIGH RESOLUTION

real progressive overcranking

large color space and little compression, as I love to play with colors (albiet subtly) in post.

I shoot mostly extreme sports stuff, skiing and mountain biking for the most part. Sometimes however I will do narative shorts that have little to no dialog. Sometimes I just go out and take shots of things i find interesting.

The camera with all those and scalability is the HPX500.
 
HPX500 fits the bill, but if you're not used to a shoulder mount camera you might find it a difficult adjustment for extreme sports shooting.
 
I almost got one for my shoot next week. But in the last second Quyen Le told me on the phone, that he wants to make some final adjustments for the retail version. Aarg ... But hey, I think I'll survive till early march.

Peter
 
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I did all of the researches and testing and ended up getting HVX200 and HPX555 (500).

Since you have DVX100 experience, you will love and adopt these newer Panasonic cams right away for extreme sport shooting.

I shot Brian Lopes, Cedric Gracia and Aaron Chase in Japan, also downhill racing, and DVCPROHD is the most reliable codec for actions.

HDV won't cut it, none of MPEG codec would work.

Rent HVX200 one day and you won't feel foreign because you have DVX, you will love it.

Here's run and gun shooting with HVX200, no planning, just went there and shot.

http://www.onebikeguy.com/KakugyoBlog/Podcast/Entries/2007/12/4_AG-HVX200_Overcranked.html
 
Kaku, that wouldnt be for NWD9 would it?

Thanks for your input, I appreciate it. I still want to see what scarlet turns out to be, and then weigh the costs and benefits of S16 against DVCPRO HD.
 
No, I could provide something but I don't really have a lot of time now to do anything at this point. I was providing clips to Japanese MTB magazine (they were bundling DVD on their magazine).

I'm wishing to make something this summer.
 
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