The HD100 JVC's HDV Progressive and Color etc?

PappasArts

PappasArts

Veteran
Well it's down to two cameras the XLH1 or the HD100. The HVX200 has been dropped from my list. The HD100 impresses me, the 24P look really good and the Bayonet standard is nice etc etc. However I have a list of questions I am putting together for later.

What I am curious about is the color with the HD100. I was pushing the DSC charts from the link below, and find it very surprising how well you can push the colors. Someone said to me at the DGA screening that the 19mbs HDV at 24fps is like a 40mbs + I frame. Does that make sense?

Has anyone captured the component 24P out to a Kona card or?

Who here has experienced the HD100 and XLH1 together. Could I get your opinions on how you feel about the two and what you observed.

Again thanks to all of you that have been helping out with the questions! Be sure to check out the link below as well....


Calibrating the JVC HD100 with a DSC Chart Link:
http://www.paolociccone.com/hd100-calibration.html
 
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More learned minds than mine can answer your questions but I can echo your sentiments on the DSC chart. We purchased 5 JVCs so far for production work and when one of my guys showed me the difference between one of the cameras he had set up and one right out of the box, it was amazing the difference. I think that the biggest plus is that the colors are more realistic so you can rely on your eye provided you have an accurate monitor. DO NOT RELY ON FLIPPER! Get a true field monitor and judge form there if the results of your hard work are important. Now some people say, "It's not so critical for sports or distance subjects but it is for close up work and scene structure." but don't you believe them. Accuracy in color and complete saturation is the whole point of HD...and HDV. Calibrating the JVC spells the difference between a story that's told and a story that's painted and painting the canvas of life, if you're shooting HD/HDV, is why you spent that $5 or 6,000. Plus, your results in post will be easier on the house, your pocket book and results. Depth of field is more than lens and perspective; it's how the colors interplay in your frame and at about 30 times a second, the DSC charts and a few hours of your time will do wonders for your piece and thus your pride and soul. I have to rely on my camerapeople and others who come together to make our company successful and when they say, "Spend the $300", I write the check.
 
Jlames - What monitors are you using in the field? While we have been using our HD101E for SD work for a few months now, we are now in the process of getting ready for a Doc project in HD - need to be portable but need colour accuracy and a screen that will aid in focus. Have been looking at the new 10" JVC VT100 Monitor, have not heard any real reports on this yet - other folks appear to lean towards larger screens but this would be a major hassle for us. Also been looking at the 7+" monitors by Marshall, but have not heard any indepth reports on them. Dealers around here just don't stock any of this stuff to be able to go and try it out. Would be keen to hear how you are working through all this...

Many thanks Stu...
www.studioscotland.co.uk
 
For us, the Sony Trinitron line has proven most effective in certifying what we see in the field is accurately reproduced through the lens and onto tape and disk. It's rather a loaded question because while we prefer the 24" BVM-D24E1WU, at $24k a crack, they're exceedingly expensive. The upside is that they have a true 1000 lines of resolution and accepts and accurately recreates 480i, 480p, 720p, 1080/60i, 1080/24PsF, 1035/60i, 1080/60i, 720/60p and 1080/24Psf. It's the monitor of choice but goes out only when we're shooting things like accompanying color commentary from the booth with facial closeups and booth background colors exceedingly important.

In the field, any of the Sony BVM-D series monitors will give you true renderings at 14" and 9", whichever you prefer. The DV RACK system is also surprisingly useful in the field, especially when you consider that we are running at a minimum 4 cameras, each seeing the same field of action but from different angles. We Obviously, mixing the results successfully, either switched/live or in post, requires the same colors and the same temperature. DV Rack but with the Sony Trinitron series and not the laptop LCD have given us the best results.

All of this fancy-dancy equipment aside, I have to tell you, I was giving Rush a hand on the set last weekend and shooting with the new Sony HDs. He had about a 24" flat panel display which was the DP's primary and it was simply Outstanding and retail on the thing was only about $800 or $900. I wish I could remember the name of the unit but it was a completely off-brand name and I just can't recall it. PM Rush or call him at EVS in Burbank, CA, (800) 238-8480 on Tuesday (Monday's "President's Day" here across the Pond you know and so it's a holiday!!!) and ask him what the name was. I don't know if they handle it through EVS but he can give you the name so you can probably find it over there.

Finally, if you'd like to confine your selections to the camera top, Marshall is hard to beat, especially the V-R70P-HDA. It's extremely accurate, accepts component and is battery operated. IDX (the batteries are great/the company service is atrocious in my humble opinion) batteries power the system and I believe you can run a line from the monitor atop your JVC to the brick powering your camera. We don't use them simply because we use Vari Zoom VZ TFT 7s for framing only in both 4:3 and 16:9 mode and then rely on the pre-shoot setup and Trinitron monitor split screen to 4X to ride the outputs during the action.

Hope this helps.
 
Many thanks for your time Jlames... that was very helpful - I will have a look at the Sony gear, I am also waiting for a couple of dealers to get back to me on the JVC HD Monitor.

Regards: Stu...
www.studioscotland.co.uk
 
PappasArts said:
The HVX200 has been dropped from my list.
Click to expand...
Is it possible to know which are the last cons?

Note: I know this is HD100 land but if I've been posting pro HD100 in HVX land, it will be fair to put it here if it justifies.
 
Just a quick post on the DSC charts. I grabbed a new, still in the box camera as one of the three we took on the weekend shoot and didn't even think about the fact that it hadn't been calibrated using the DSC chart. We have a home studio as well so, naturally, I couldn't wait to see the footage. Bottom line...night and day. The calibrated cameras performed perfectly capturing the true colors we were seeing and the new, uncalibrated camera straight out of the box, while still good, was pale by comparison. Get the charts and calibrate your cameras. JVC does a good factory spec job that will give you universally reliable performance but doing your own calibration is really the way to go. Don't know if EVS has them or not but Filmworks in Burbank (http://www.filmtools.com/) definitely does at about $329 I think. Money well spent my film friends.
 
Digital cameras, 3CCD or Bayer are surprisingly bad at color rendition. The filters are never precise enough, especially on small sensors. Here is one of my industrial cameras before and after correction. I was afer a saturated film look and I used one of my film models, so it not an accurate correction. But where was red before the correction? ;)

 
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