AC90: AC90: Advantages for a Novice?

jonpais

jonpais

Well-known member
Hi, I'm a novice, I've only been shooting video for a year now, using a Panasonic TM900. I have started to take an interest in sound, and purchased a couple of Rode mics, a boompole and an external recorder (Sony PCM-10). Fortunately, Rode provided Pluraleyes for free. but I haven't had a chance to try it out yet. I'm really interested in the new Canon G30, but if for some reason it doesn't do as well as hoped in tests here, I have my heart set on the Panny AC90. My question is. for a rather inexperienced person just beginning to discover the possibilities of video, would there be any advantage to using a professional camera like the AC90? I don't see myself using the XLR connections any time soon... Will I need to purchase ND filters, or can I just shoot at 1/120 sec in bright light? Also, are 'knee' and the other settings something I can easily learn or do they require lots of practice? Although Slashcam rates the ease of handling of the AC90 higher than the TM900, the camera doesn't appear to be something I could comfortably carry around for hours shooting gun n run style. Finally, are there any other features on this camera that make it preferable to the TM900, in terms of allowing more creativity? Thanks in advance for your response
 
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One of the biggest advantages of moving up to something like the AC90 is that many of the camera's operational features are controlled from the side of the camera, whereas the TM900 is controlled primarily through a menu. Menu navigation is a hindrance to fast-paced production, and having button controls on the camera chassis is a much more efficient way to work.

You'll also get much more customizable image control in the AC90. The TM900 has a few presets, but they're not adjustable. The advanced image control features aren't difficult to learn, but the beautiful thing is that you can grow into them: set the camera to take care of as much or as little of the image control as you need.

I wouldn't be terribly concerned about run-and-gun fatigue... at least, no more than usual. I find these cameras much easier to control, actually, than the compact "palmcorder" design.

Also, if you work with 24p at all, the TM900 records 24p over 60i, requiring a 3:2 pull down removal in post. The bigger cameras, I believe, record native 24p (23.976), allowing for a faster post workflow.

I have a TM900, and I think for what it is, it is a beautiful little camera. It's the one I bought for my office, and it has worked well. Had I had the budget, I'd have gotten something like the AC90 or HMC40 without hesitation.
 
Hi Jonpais, unless you need to sell the TM900 (e.g. to offset the cost of the new camera) then keep them both and choose to use the one that best suits the occasion/shooting needs. The AC90 gives you shooting options that the TM900 cannot offer. The XLR may seem exotic right now, but later when you want to use a shotgun mic you'll have the capability to add it. And the audio control that you get with the AC90 keeps your audio options open also for the run and gun shooting that you cannot get with the TM900. The TM900 can work when you need a lower profile (guerrilla camera shooting), or a second camera for a friend to operate and give you an alternate angle on a scene/situation.

I've shot an event handheld with the AC90 and it is more fatiguing than carrying the smaller camera. On the other hand you tend to get steadier footage due to the inertia of the larger camera. And you can look into something like the Davis and Sanford 'Steady Stick' or other device that helps support the weight of the camera, while continuing to give you lots of mobility.
 
A cheap set of ND filters is around $50. Not a big cost issue. However, the $1000+ jump to the is a big difference in value. Ultimately it would be your decision, mainly to me if you are truly love video work and have serious interest in improving your craft/hobby or even pursue it to a professional level. For instance if you want quality sound the XLR's are generally a no-brainier, however you said you already purchased some microphones and without model numbers I am unsure of comparability. I have run into the problem with a friends unbalanced microphone having a hum when adapted down to the balanced XLR input. I might have had to spend $50 to fix the hum issue. For many folk they want to go the DSLR route i.e. GH2. Even the Cannon 60d has a lot to offer. With either route you learn huge amounts with either a DLSR or a professional video camera when you use manual modes. Part of the reason as a relatively new professional (just 3 years of experience) I choose the AG-AC90 is I could use it professionally with few reservations. However, in my area I probably would have gotten more work with a Cannon 5d Mark II. I really wanted to stick to the video camera mode with the expectation clients (and even crew) knew the value of a video camera over a 5d, but I don't think many of them do or care. ie Its just way to easy to ask for a Cannon 5d Op since we have probably 100s locally. Besides I was supposed to be using my AG-AC90 on mostly run and gun work so the Cannon 5d would have been quite a bit more problematic. I am still happy with my purchase though and even at my level of experience there is a lot I can learn from it. To me the decision on any first professional camera is a big one these days because the technology and pricing is changing so rapidly. The bottom line is how much are you willing to invest in your training for a year, because in one year the way things are going prices for the low end professional products are dropping at something like $1000 a year. So like a $3000 camera will be worth $2000 or so in just a year because the new $3000 camera will have that much better. At your level its all about the learning curve and to me its quite steep going from consumer to professional level. The the $1000 DSLR level the price drops will not be a great (maybe a few hundred dollars per year) so the "year to year loss" is not as much.
 
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Thank you everyone for your helpful suggestions. In answer to just a couple of questions, I have been using a Rode Videomic Pro and Stereo Videomic Pro. I ordered the Sony recorder and had it sent to a friend in the States, who will be coming to visit me in Vietnam in one week. I'm very excited about the possibility of shooting with the mics off camera. I purchased a Rode boompole from a dealer here. I do a lot of run and gun shooting, but I'd also like to make documentaries and short films. In fact, I'm busy writing a script for a small 'mockumentary' at the moment. nothing too ambitious. I realize that XLR is better, and perhaps in the future I'll pick up some XLR mics. I will probably hold on to the TM900, since I like the idea of shooting with two cameras someday. I've got just one last question. I've been using ClipWrap to make the files usable in iMovie. Will I still keep the same workflow? I believe the AC 90 comes with software to allow working with the mts files in FCP, but I'm not ready to plunk down the cash for another NLE system..
 
jonpais said:
I've got just one last question. I've been using ClipWrap to make the files usable in iMovie. Will I still keep the same workflow? I believe the AC 90 comes with software to allow working with the mts files in FCP, but I'm not ready to plunk down the cash for another NLE system..
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With FCP, if you connect the camera directly to the computer and use the FCP's Log and Transfer feature, you can pull the clips in directly without having to go through ClipWrap. At least, that's how it works with FCP7. I have yet to move to FCPX, so I don't know the exact workflow, but it should be similar.

iMovie should also be able to pull clips in directly from the camera. Have you tried that? MTS files are a huge pain if you're trying to pull them off the camera before doing anything else with them, but if the NLE can read straight from the camera and see the camera's native file structure, it should be able to locate and read the files.
 
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Better check if your work flow will still be vailad. For what you say you are going to do, no run n gun I would try a DSLR. If you have time to compose shots and check focus it might be a better fit. I do both, but found the Panny to be better except for when I have time to compose my scenes first then the DSLR is better. If you are going to move up in camera, you must move up in NLE otherwise you are very limited. I also use the same video mic for stage recordings good choice as you can run it over a wireless unit since it has a battery. The AC90 is a great camera, just keep in mind all the extras with any camera you will need and add that total for its a realistic cost factored in.
 
Alex H. said:
With FCP, if you connect the camera directly to the computer and use the FCP's Log and Transfer feature, you can pull the clips in directly without having to go through ClipWrap. At least, that's how it works with FCP7. I have yet to move to FCPX, so I don't know the exact workflow, but it should be similar.

iMovie should also be able to pull clips in directly from the camera. Have you tried that? MTS files are a huge pain if you're trying to pull them off the camera before doing anything else with them, but if the NLE can read straight from the camera and see the camera's native file structure, it should be able to locate and read the files.
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Hi Alex, iMovie doesn't recognize the 60p clips, so what I've done is to record one second of 60i. Only the one clip is visible when I connect the camera to my Mac, but iMovie imports them all. I've also changed the plist in iMovie so it will do 60p. Then I have ClipWrap rewrap the files using AIC. I experimented once with no transcoding, but difficult to work with. Definitely not recommended!
 
rzr219 said:
Better check if your work flow will still be vailad. For what you say you are going to do, no run n gun I would try a DSLR. If you have time to compose shots and check focus it might be a better fit. I do both, but found the Panny to be better except for when I have time to compose my scenes first then the DSLR is better. If you are going to move up in camera, you must move up in NLE otherwise you are very limited. I also use the same video mic for stage recordings good choice as you can run it over a wireless unit since it has a battery. The AC90 is a great camera, just keep in mind all the extras with any camera you will need and add that total for its a realistic cost factored in.
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Thank you for the advice, rzr... What hidden costs are there, aside from another battery and ND filters??
 
No hidden costs, however SD cards at the correct class not the cheap ones either. a few OEM batteries, a very good case made for the camera to protect it. Moisture packets for the camera bag and audio bag (a must if you want to keep your mic working), lights for on camera, a solid tripod, either wireless or wired mics and cables, external monitor (if needed) for checking peaking, good headphones (never do a shoot without!!!!!), ND filters very good quality or your shoots will be less than desired, and most of all patience and more patience and practice before you shoot for first real job. Thats about the basics, just go into your venture with your eyes wide open so you know the real costs. I will say I enjoy every shoot I do as I learn something every time I shoot, its fun and rewarding each time.
 
jonpais said:
Hi Alex, iMovie doesn't recognize the 60p clips, so what I've done is to record one second of 60i. Only the one clip is visible when I connect the camera to my Mac, but iMovie imports them all. I've also changed the plist in iMovie so it will do 60p. Then I have ClipWrap rewrap the files using AIC. I experimented once with no transcoding, but difficult to work with. Definitely not recommended!
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There's the rub: iMovie doesn't officially support 60p. FCP does, though.
 
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