HVX200 Good enough for History Channel?

F

finklefilms

Active member
Hi Folks,

Is the HVX200 an acceptable camera for shooting broadcast worthy images for the likes of the History Channel?

I have to put together a proposal for a class and am trying to figure out the most professional, cost effective, and reliable camera to use for a piece that would involve talking heads, and following folks in their respective environments.

I know this is vague but I just wanted to get your feedback if you have had experience shooting a doc that was to be sold to a professional network such as the History Channel. Thanks.
 
A few months ago there was a documentary on History Channel called Sandhogs that was shot on a HVX. There's a thread on this site about it. A couple years ago I know it was also used as a B camera for some reenactment stuff for another History Channel doc. So, yes.
 
The last I heard was that Discovery US had certified the HVX200 Gold approval for their programming standards. (Gold = 100% content) Now, they aren't the History Channel, but Discovery has been known to have some of the most stringent specs in broadcasting. You should be able to log onto your prospective broadcaster's site as a producer and find out what specs they are requiring.
 
Nexis said:
I thought Discovery Channel considered the HVX200 a bronze camera.
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Initially yes, it was a Bronze camera. The last document I came across though (6 months ago?) stated that it had been upgraded to Gold status.
 
I have to interject here. All of these camera and format requirements are for commissioned shows and series. Did History Channel commission your project? If so, you need to abide by their format requirements. If you are doing this as a speculative project with the hopes of selling it to a cable network, shoot it on whatever you want, it really doesn't matter. If the show is great, well produced, written, directed and shot, it can be on almost anything. The top two shows on Travel Channel, shot on HDV on old outdated cameras (Z1u and V1u).

Wreckreation Nation - Shot on one of the new Sony HDV camcorders.

Iditarod Show on Discovery - HVX200s

If you are commissioned for programming, you will sign a contract. By the terms of that contract, you are legally bound to shoot on whatever camera and format is required under the terms of the contract. If you are shooting spec, shoot it on an HV20, doesn't really matter in a way. It has to look professional, of course, but format and camera are only for established players who are commissioned.

Dan
 
puredrifting said:
I have to interject here. All of these camera and format requirements are for commissioned shows and series. Did History Channel commission your project? If so, you need to abide by their format requirements. If you are doing this as a speculative project with the hopes of selling it to a cable network, shoot it on whatever you want, it really doesn't matter. If the show is great, well produced, written, directed and shot, it can be on almost anything. The top two shows on Travel Channel, shot on HDV on old outdated cameras (Z1u and V1u).

Wreckreation Nation - Shot on one of the new Sony HDV camcorders.

Iditarod Show on Discovery - HVX200s

If you are commissioned for programming, you will sign a contract. By the terms of that contract, you are legally bound to shoot on whatever camera and format is required under the terms of the contract. If you are shooting spec, shoot it on an HV20, doesn't really matter in a way. It has to look professional, of course, but format and camera are only for established players who are commissioned.

Dan
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I guess thats what I was eluding to on my earlier post #5 but I didn't flesh it out far enough. But you are exactly right. In a nutshell, if you have already done your own project and the broadcaster likes it, then they will find a way to get it on the air almost regardless of format. If you are commissioned by the broadcaster however, you shoot on exactly what was specified in the contract.
 
I see so many posts on the boards (not just here, on all of the video/filmmaking boards) from users who either are agonizing over spending too much money to rent/buy a camera that they think will magically elevate their show to a status where a cable net will buy it (we are going to rent a RED!) or using the lack of a certain level of camera as an excuse for not getting off of their asses and creating something exciting, dynamic and commericlally viable.

The formula is so simple. Make something that kicks butt, is amazing and commerclally viable, sell it to a cable net as a pilot and get commissioned for a series. I guarantee you that most producers who are commissioned for a series from Discovery, TLC, Bravo, etc. are going to make plenty of money to either rent or buy whatever camera they want. The camera and format aren't an issue. The cable nets don't buy footage quality, they buy commercially viable ideas. If you can't understand that, you will never sell a show, regardless of what you shot it on.

I am going through this right now with six different shows I am working on and I am not the least concerned that most of them are shooting on prosumer cameras like the HVX200 and the HPX170. It's the concept and the execution of said concept that count!

Dan
 
x2 puredrifting's latest post. Most cable network decision makers don't give a rat's backside what comes in the door cold to begin with. So the odds are way against you to begin with.

imo, that phrase "commercially viable idea" is worth remembering.

If you also remember that the shows are really just "bumpers for ads", I think you get a step closer to understanding the mindset of the people that write the checks.
my .02
JB
 
The best education in the world will be when you go in for your first pitch meetings, even if you aren't the one pitching. Since you have a very good chance of getting turned down as most people do, listen, ask intelligent questions and learn. Always leave a good impression, even if they didn't buy your show because even if they thought your ideas weren't commercially viable, if they liked you, chances are you can pitch to them again.

Remember, it's TV. Think dumb honestly, think baser instinct, think about the audience. My problem is I always come up ideas that are very high concept and frankly, too tweaky and intelligent to be commerically viable. The new show on E, (not sure of the actual title) but it is something like Hot Cheerleaders In Haunted Places. That is what sells. That is a commercially viable concept because it is on the air and E commissioned it. Very few places on the dial for intelligent television these days so you had better be willing to simplify and frankly dumb down high concepts if you want to get them on the air.

Dan
 
de selby said:
Proposed series: "Ice Road Trucker Hunters with Naked Axe Man Simcha Jacobovici Quest" Is it viable?
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I'd thought it would be more like "Ice Road Tucker Chick's take on Taliban Jihad while fighting Climate Change"

Cheers
 
Yes Jim, but it is a crass business, right? ;-)

deSelby:

You MUST add the words "Extreme, Busted, Deadliest, Destroyed or Wreck" to any show title to pitch for Discovery. How about, "Extreme Ice Road Trucker Chick Destroys The Deadliest Taliban Jihad to Wreck The Climate"?

What do you think?

Dan
 
puredrifting said:
Yes Jim, but it is a crass business, right? ;-)

deSelby:

You MUST add the words "Extreme, Busted, Deadliest, Destroyed or Wreck" to any show title to pitch for Discovery. How about, "Extreme Ice Road Trucker Chick Destroys The Deadliest Taliban Jihad to Wreck The Climate"?

What do you think?

Dan
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Or spin it this way ...

Extremely Busted Trucker Chicks Destroy the Deadly Taliban who Wreck the Climate through Jihad

:)
 
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