HVX-200 / 200a or 170? Need advice

811productions

811productions

Well-known member
I have had a HVX-200 for a bit over a year now. I love it. I'm selling my 2 DVX-100a's because I want another p2 camera for my 2 camera shoots. Should I get another HVX-200 or should I try out the HPX-170? I'm worried that even if I get the 200a the image won't match my 200. Can I use the 170 in a two camera shoot with the 200 that I already have, or I am looking for a headache in post? Also what 35mm lens adapter would you suggest? I have a few nikon lenses already, so I would like to get a mount to utilize those. sorry just am having a hard time making a decision right now. Thanks.
 
get a hpx170. then later sell your hvx200 but only buy the hpx200a if you sometimes shoot tape. 2 hpx170s the way to go. get the m2 redrock with the new cinescope. hpx170 has the flip,historygram,vectorscope,widest lens going. 5 year warrentty. hd sdi out. hvx200 to grainy.
 
811productions said:
I have had a HVX-200 for a bit over a year now. I love it. I'm selling my 2 DVX-100a's because I want another p2 camera for my 2 camera shoots. Should I get another HVX-200 or should I try out the HPX-170? I'm worried that even if I get the 200a the image won't match my 200. Can I use the 170 in a two camera shoot with the 200 that I already have, or I am looking for a headache in post? Also what 35mm lens adapter would you suggest? I have a few nikon lenses already, so I would like to get a mount to utilize those. sorry just am having a hard time making a decision right now. Thanks.
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From reports from Barry, Kholi and others who have used both the 170 and 200a, there are some differences in the image. If shooting two camera and having the images match is important to you, my advice would be to buy two of the same model, two 170s or two 200a.

I did a test between the 170 and the 200 here that you may find useful. I did do some comparison shots shooting the exact same thing http://www.kenstone.net/fcp_homepage/hpx_170_evolution_brockett.html

Enjoy!

Dan
 
Thanks both of you....By the way, really nice article. So after thinking I do have clients that I may have to still use tape for. ie. shooting really long boring conferences with 2 cameras for 6 hours straight. I would usually just use my dvx's for this, but want to trim down my closet of gear and just buy another hvx... So Dan are you saying that the 200a is going to be hard to match? Do I need to be looking for a used 200? Really hate buying used stuff. Thanks.
 
Hi:

From my tests, I would say that it would be difficult to exactly match a 200 with a 200A or a 170. I have already done some shoots with my old 200 and my 170 and although they are close, there is a noticeable difference in detail and noise between the two.

The good news is that there are some killer deals right now on used 200s, a lot of people want to dump them so they can get a 200A or a 170 or an EX1, etc. I have seen low hour pristine 200s here for as little as $2,900.00. It is tempting to not just pick up a pair of them for me if I could get two nice ones for under $6k even though I have the 170. I still really like the picture on the 200, I never had any issues with noise and I have shot some beautiful footage with them.

Dan
 
Thanks again. Let me know if you have anyone that wants to get rid of a 200. Seriously. I'd like one asap. I'd rather get it from someone through here than on ebay. I hate that place.
 
811productions said:
Also, the HMC-150 should not be an option for me correct?
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I would think that would wreak havoc with your post workflow personally. I wouldn't mix and match but I am sure that there will be people out there who will.

Check in the Marketplace, there have been several HVXs in there for sale.

Dan
 
150 = no variable frame rates and dealing with the AVCHD long GOP codec. For me, no stinking way. 150 is a great camera for people who are usually more wedding/long form event shooters and care mostly about the cost of media. For me, media cost is not a big factor, I own four P2 cards and my clients own dozens so I rarely have to rent them and I don't usually shoot that long. For you, it may be different.

Dan
 
811productions said:
Thanks again. Let me know if you have anyone that wants to get rid of a 200. Seriously. I'd like one asap. I'd rather get it from someone through here than on ebay. I hate that place.
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hmm... I've been thinking about getting rid of my HVX200 and upgrading the HPX170...
 
That's exactly what I did and I have been pretty happy with the 170, its a great camera. Don't expect monumental increases in quality over the 200, but it is lighter, much friendlier to use and has some pretty cool new features (waveform/vectorscope, focusing aids) that allow you to shoot better quality images than you would have on your 200.

Its a good move if you are a working pro. If you don't make money with it though, unless you are wealthy, keep the 200, haven't you heard, the economy is totally melting down ;-O, save your money.

Dan
 
AKURCHINSKI said:
Whats the difference between 720/24P and 720/24PN?
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Run time on the P2 cards.

720 24pN is native, meaning that the camera physically records 24 progressive frames only.
720 24p records 24 frames over 60i.

I can't think of any reasons for not shooting 720 24pN, that is almost all I ever shoot unless it is 1080 24p for BG plates where I need a larger raster to re-size in 720. Barry Green does state that the 108024p does have about 15-20% higher quality over 720 24.

Dan
 
When you shoot material on green screen, you need a background plate to put behind the subject shot on green screen. Hence the term, "BG plates". I shoot them in 1080 because most of my shows are edited from 720 material on a 720 timeline. If you put a 1080 plate in, you can zoom in on the plate and re-frame it with no loss of quality because it is that much larger than the 720 foreground and mid-ground shot (if there is one).

Dan
 
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