Chris Santucci
Veteran
I'm 2/3 of the way through shooting a feature length film with a pair of HVX200's (one an "A" and one the original model), a pair of SGPro adapters, and a pair of FS-100's. For what it's worth - a few thoughts:
FS-100: Great so far. Rock solid. One even got dropped once from about 4 feet onto asphalt and after a re-start has performed flawlessly. However, the cooling fans in these units are a MAJOR design flaw. I got these in the winter and never even heard them turn on, but indoor use during the summer makes them wail like a siren.
I tried using 15' firewire cables to place them in another room, but this is a major pain in the arse especially when you have monitor and audio cables all over the place.
In tight quarters, even when the fans are not running, I can hear the drives spinning. FE needs to address these noise issues with their FireStores I'd say.
HVX-200A: Noticeably cleaner image than the original model and possibly a better built-in LCD screen. I won't use anything above +3 gain with the original model but +6 on the "A" still looks good in my opinion. Also, the "A" is definitely more light sensitive. The "A" is definitely improved.
SGPro: Love these far more than M2. No flip, no problem - monitors are easy to flip. And I can review the clips on a laptop and use QT Pro to flip if I need to. However, the baseplate supplied is nowhere as good as the RRM M2 baseplate which I'll be buying soon to replace the SGPro baseplate. It's far too skinny and does not provide enough surface area for a mounting plate to grip to. Even setting the camera down on a flat or nearly flat surface with the SGPro baseplate becomes a problem since it just tips over.
On-Board monitor:
The first chance I get, I'm buying an HD LCD screen for on-board use. I'll never use an SD LCD screen for on-board use again. I can't stress enough the importance of a high res on-board monitor especially when shooting with limited time or crew. Judging focus and to some degree exposure is SO much easier and accurate with a high end on-board unit. For anyone thinking about what to spend money on - think about an HD on-board LCD before anything else.
Monitoring in general:
It's absolutely essential whenever possible to have someone you trust (if you are operating camera) to sit and watch the monitor while shooting footage. Also, whenever possible, I'd recommend using a CRT monitor larger than 9 inches to judge color and sharpness. Having someone you trust watching a real monitor while you operate camera and tweak lighting is worth it, whether it's a gaffer or a DIT, or just someone you trust - this is major.
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FS-100: Great so far. Rock solid. One even got dropped once from about 4 feet onto asphalt and after a re-start has performed flawlessly. However, the cooling fans in these units are a MAJOR design flaw. I got these in the winter and never even heard them turn on, but indoor use during the summer makes them wail like a siren.
I tried using 15' firewire cables to place them in another room, but this is a major pain in the arse especially when you have monitor and audio cables all over the place.
In tight quarters, even when the fans are not running, I can hear the drives spinning. FE needs to address these noise issues with their FireStores I'd say.
HVX-200A: Noticeably cleaner image than the original model and possibly a better built-in LCD screen. I won't use anything above +3 gain with the original model but +6 on the "A" still looks good in my opinion. Also, the "A" is definitely more light sensitive. The "A" is definitely improved.
SGPro: Love these far more than M2. No flip, no problem - monitors are easy to flip. And I can review the clips on a laptop and use QT Pro to flip if I need to. However, the baseplate supplied is nowhere as good as the RRM M2 baseplate which I'll be buying soon to replace the SGPro baseplate. It's far too skinny and does not provide enough surface area for a mounting plate to grip to. Even setting the camera down on a flat or nearly flat surface with the SGPro baseplate becomes a problem since it just tips over.
On-Board monitor:
The first chance I get, I'm buying an HD LCD screen for on-board use. I'll never use an SD LCD screen for on-board use again. I can't stress enough the importance of a high res on-board monitor especially when shooting with limited time or crew. Judging focus and to some degree exposure is SO much easier and accurate with a high end on-board unit. For anyone thinking about what to spend money on - think about an HD on-board LCD before anything else.
Monitoring in general:
It's absolutely essential whenever possible to have someone you trust (if you are operating camera) to sit and watch the monitor while shooting footage. Also, whenever possible, I'd recommend using a CRT monitor larger than 9 inches to judge color and sharpness. Having someone you trust watching a real monitor while you operate camera and tweak lighting is worth it, whether it's a gaffer or a DIT, or just someone you trust - this is major.
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