A few HD100 questions!

PappasArts

PappasArts

Veteran
Does anyone have 0db night time footage I could see?

I'm also looking to see footage with the color gain at full saturation. Anyone done this?

I had a link to a $5,700 or so price that incuded a firestore along with the idx deal. Anyone have that link?

The HD100 just keeps impressing me.


Thanks
 
First, there's plenty of footage available here and at DVInfo. If you can't find it here, head over there. Secondly, Firestore doesn't work with the HD100 yet. It's expected in March 2006...if then. The Firestore should add about 1800 to the price for an 80G and the base price for the camera is about $5600 right now with the IDX battery kit so if your promo deal includes an if / when clause on the Firestore and it's included for $5700, go for it but beware the too good to be true deal.
 
I must have mixed up some info then, becuase that is to low.

Someone posted a 4,900 price at the Houston company VSA inc with IDX promo?

Thanks for responding.

Can I ask, what is your work flow for editing? Have you had any tape drop issues?

jlames said:
First, there's plenty of footage available here and at DVInfo. If you can't find it here, head over there. Secondly, Firestore doesn't work with the HD100 yet. It's expected in March 2006...if then. The Firestore should add about 1800 to the price for an 80G and the base price for the camera is about $5600 right now with the IDX battery kit so if your promo deal includes an if / when clause on the Firestore and it's included for $5700, go for it but beware the too good to be true deal.
Click to expand...
 
PappasArts said:
Does anyone have 0db night time footage I could see?
Click to expand...
Michael,

Of what in the dark? Just the darkness @ 0db? One thing you should know about the HD-100 is there is an incredible amount of customization even in the gamma levels (not gain).
 
Hi Stephen!

Btw I finally got to see that wmv of the film-out you posted. It would only work on my PC. Wow. The train footage was nice, sharpness should have been lowered more, however it was cool, the doc footage was very colorful. Who did the set top footage of the blue bottles and was that to HDV tape. If so get those presets, that was stunning footage & had beautiful color...... The HD100 needs it's sharpness low or off, that was the element that IMO hurt the Andrew Young footage. I would have pumped up the color as well and made it less flat with not so much of a overall warm tone. Everything within the frame seemed to have the same warm tone. It just made the colors look too flat...

The HD100 I am very much considering now. There are a few things I need to have clarified before I would buy it. Company support for costumers on issues is Paramount for me.

I will make a list of questions later!

As for night footage. I light low key.... I hardly ever go above medium key. I can't stand high key footage where everything looks like a game show. That said, I was hoping to see some Taxi Driver like footage of the city streets, or Collateral type material with gain and with not any gain for silky blacks. Candle light levels like Barry Lyndon lighting too!

Also at the directors guild JVC had a very informative presentation with slides and graphs explaining ProHD and about GOP etc. Is there a way I can get a hold of that to look at again and show my people who didn't attend....

Stephen I'm glad your here supporting JVC and helping us out. Thanks!
 
I made something that might be of interest to you.

0db gain
+7 color gain
-7 detail

The scene file used is my new "steve" scene file available for download from dvinfo.net and the settings above were used. It's a snap Micheal (once you get in tune with the camera) to get exactly the look you want. The HD-100's settings are superior to any camera I've ever used.

The scene is lit only by a 20W bulb in a reading lamp. Hope you like and can get some idea of what you can do. Also, I didn't put the color gain all the way up because I think it super saturates the image. I zoomed from 88mm to 5.5mm so you get the entire zoom range on this shot. Iris open F1.4 This should give you a start.

Click here for m2t

To answer your questions about the film footage. It was all HDV. The bottles were shot at Columbia on set. Andrew could best explain his shots and I think he did during the event. He said, over on dvinfo, that he was experimenting further with settings. Our film effort had some scenes that looked great and some that looked not so great but the point and purpose was to learn, and that we did. I feel confident that I could setup the camera and get predictable film results now. HDTV results have all been excellent and I feel confident in the camera's abilities on the small screen.

let me know if the clip helps clear anything up for you.
 
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Pappas Arts- As usual, Stephen is spot on on the camera's abilities and his assessment of Andrew's intent at the DGA last week I think is also correct. As to the price, $5600 is typically a firm street price and will hold up across the board. Noticeably lower and look for that "Fine Print" that says something is missing. Also, bear in mind that if that $4900 price was before Feb 1, a $600 price increase now applies so all base prices should be right around $5600.

The Firestore price is also fairly accurate within $100 or so and that's when they come out. Remember, JVC and Focus is still saying end of March for a ship date and JVC is saying, "Don't hold your breath."

Our workflow is relatively simple. With 80G DTEs and tape as archive and a typical 3-camera shoots, camerapersons will call out 5 min left or, depending on the length of the individual action series, as low as 3 and as high as 7. Then it's a one change- all change to optimize organization and keep post simple. Pre-labeling the cassettes and cases means stuffing the completed ones into your pocket and dropping them off with the PA at the EOD. BUT, we're not using DTE on the new 100HDs yet. They're not ready for prime time. On other cameras with existing DTEs, we'd typically go through 2 units a day or night so we'd have three units available for redundancy on each camera. Then it's simply a matter of swap and go. Then, at the EOD, we'll download the contents of both DTE units to a RAID in our coach or editing trailer and screen the content to make sure we have what we need. With us though, it's a little different. Sports is a one-take deal. Get it now or it's gone forever which is why camera placement is so important. In post, we like to use certain cuts between the 3 cameras picking up the riders at the appropriate times during their runs BUT, with proper camera placement, if one cam blows the shot, we're in a pretty good position to make do with what one of the other cameras capture and we can wing it in post.

Finally, with the one camera we have that actually has a battery and a second on the JVC little batteries, we've never had an issue with dropped frames in transfer. But that's as much a product of the camera as it is of the transfer deck. The BR-50 we use is top of the line which anticipates errors and has mechanisms to obviate them. With its "Auto Error Correction System", the unit operates on a frame-by-frame basis to ensure accurate error compensation during playback or capture throughput; hence the price. After optimally calibrating the playback RF waveform with a pre-filter circuit, the VCO (voltage control oscillator) control voltage is changed so that the data reading clock phase is shifted to the position where the error rate is lowest. The result is accurate, consistent suppression of block noise and reliable, professional-standard performance. It also has sweeper heads that, during recording and playback reduce the block noise which is caused by dust adhering to the heads. It has a drum assembly with specially designed "sweeper" heads that sweep off any magnetic material dropped by the tape or any dust that may have entered from outside the unit. So by consistently using the same type of tape (wet vs. dry lube) and a good deck, dropped frames are minimized and we haven't noticed any dropped frames.

Guys like Barry Green and Jared can get into the actual mechanics of the thing but that's what I know. Hope this helps.
Jonathan
 
4,900 is correct

4,900 is correct

I just ordered mine at 4,900 shipping to CA on 2-17 wednesday with the certificate for the IDx batts:

1 JVC GY-HD100U 3 CCD ProHD Camcorder
Shipping weight is 17 lbs.
UPS Ground from Houston to SF—4 days @ $48.00
UPS 3 Day from Houston--@ $69.00.

Dave Melbourne
VSA Houston
4910 Wright Rd.
Suite 180
Stafford, Tx. 77477

Office: (281) 277-4000
Mobile: (713) 899-0574
Fax: (281) 277-4001
Toll Free: (800) 307-0703
http://www.vsahd.com
 
direttore said:
I just ordered mine at 4,900 shipping to CA on 2-17 wednesday with the certificate for the IDx batts:

1 JVC GY-HD100U 3 CCD ProHD Camcorder
Shipping weight is 17 lbs.
UPS Ground from Houston to SF—4 days @ $48.00
UPS 3 Day from Houston--@ $69.00.

Dave Melbourne
VSA Houston
4910 Wright Rd.
Suite 180
Stafford, Tx. 77477

Office: (281) 277-4000
Mobile: (713) 899-0574
Fax: (281) 277-4001
Toll Free: (800) 307-0703
http://www.vsahd.com
Click to expand...

Congratulations on your decision. Can't wait to see some content....
 
Battery certificate...

Battery certificate...

so was the certificate supposed to come with the camera? (the idx battery certificate promo)

because we didn't get one. i'm assuming we're supposed to download the certificate off of the website, yes?
:: efrain
 
efrain said:
so was the certificate supposed to come with the camera? (the idx battery certificate promo)

because we didn't get one. i'm assuming we're supposed to download the certificate off of the website, yes?
:: efrain
Click to expand...
If you got your camera from B&H then yes, download the certificate and print it. Follow the instructions on the certificate. Cut the serial number from the box and put a copy of your B & H invoice in with the cert and mail it. Those are the instructions on the certificate.
 
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