Canon Unveils New Prosumer HDV Line: XH G1 and XH A1

As much as i love the DVX 100b color mojo and the hvx200 (seen some real very2 impressive footage), once the new canon comes out, the (if still unchanged, price-wise (msrp $3999) or feature-wise (HD, 16x9)) dvx100b would be in trouble.

If i have the cash though, its HVX200 otherwise the $4k canon would me my ticket. Again because of the classic Panasonic 24p mojo !
 
I love the mojo. I really do, but I could not chose the DVX again if I had to buy a cam right now.

It almost hurts to say, because I love the DVX but if the Canon delivers any sort of a good image, I would/might buy it.
 
Its interesting reading the feedback on this camera here... and if the images look good, i have a feeling the A1 is gonna beat the DVX...
 
Hey dudes--

It's not really a competition yeah? It really is another paintbrush.

For those of you who do not know, though:

24f, as nice as it is, is not supported by Final Cut and Vegas. I believe you can cut with Premiere after upgrades, and Canopus Edius slices 24f right out of the box.

That's another thing to consider with Canon's camera.

If I am incorrect, someone please correct me. That's one reason our company is looking at the purchase of HVX200's as opposed to the XL-H1's. Our editinng bays are Avid and Apple-centric.

( :mumble: Car... or A1? Car... or A1? )
 
will Veg 5 cut HDV?

Just curious. i have VEgas 5 and wanna drag my laptop to B&H and import some HDV. just to play
 
Having my own event video production company(and still banging away at my short film) I have been salivating for an upgrade of image quality for about 6 months.

I own DVX and a VX2000, and so I drifted to HVX. The P2 storage is a dealbraker, though. Although I'd be able to function on dramatic projects, there is no way in hell I can work a wedding or the such with the their storage lengths.

So I drifted to the others, and found the only contender to be the XL-H1. Alas, it was too damn expensive to get for at least a year, I thought.

Now, I am shocked. For these prices, I'm game this winter.

For anyone who is unsure of the image quality that will be packed into these new versions(or Canon's 24F or whatever), I invite you to check out some of Disjecta's new footage with the Xl-H1. Very, very exciting.

Now all I have to do is to perpuate a lie to myslef that working a 2 camera setup, with an HD and SD format, is a smart and possible thing.
 
1080x1440 chips - with higher res than the HVX/Z1 in both interlace and frame modes (which, by the way, have identical candence to progressive)

Independent iris ring on lens

20x flourite lens

1920x1080 still image capture

Optional HD-SDI, Genlock, Timecode, Pal/NTSC switchable

More image controls than any sub 10k camera

Cheap media

Sleek design

If this camera doesn't have mojo, mojo must have died in a hail of bullets and gone to transitor heaven
 
Brandon Rice said:
Well... the DVX still has 24 progressive frames... this camera does not. And, we still need to see the color and latitude that this camera is capable of as well.
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'Have I'Q's just dropped sharply while I was away?" heh heh, sorry, man. Couldn't resist. :)
You won't find too much info on 24f here, I don't think, but for all intents and purposes 24f is 24p and unquestionably can be referrred to as "electronic" 24fps, and uh, if I'm not mistaken, isn't that what 24p was suppose to be emulating in the first place?
In terms of "mimicking" 24fps, I cannot, by eye, detect the difference between 24p and 24f.
 
Kholi said:
24f, as nice as it is, is not supported by Final Cut and Vegas.
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SONY VEGAS supported 24F before 24F was invented. *smile*

it will capture 24F, It will edit 24F, it will Master 24F. It will even outut 24F HDV footage back to an XL-H1 if you want. (although I recommend using CineForm). Sony veags was the VERY FIRST program to ever handle 24P and 24F footage from any video camera.

Just thought I should put that out there so people won't misunderstand things.

Check this: http://www.xlcinema.com/cinematic/showthread.php?t=596&highlight=vegas
 
ShannonRawls said:
SONY VEGAS supported 24F before 24F was invented. *smile*

it will capture 24F, It will edit 24F, it will Master 24F. It will even outut 24F HDV footage back to an XL-H1 if you want. (although I recommend using CineForm). Sony veags was the VERY FIRST program to ever handle 24P and 24F footage from any video camera.

Just thought I should put that out there so people won't misunderstand things.

Check this: http://www.xlcinema.com/cinematic/showthread.php?t=596&highlight=vegas
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Thanks, Rawls--

I thought I had read somewhere that Vegas didn't support 24f. Thank you very much for correcting me.

I don't use Vegas, anyway, though. =P
 
actually dude your wrong.. Vegas was not the first NLE to support 24p.

man though do i miss it. As good as FCP is.. I think vegas was one of the best programs ever written.
 
roxics said:
But I wonder how many people here have actually used HDV (instead of just reading about it) and how many people here actaully need anything bettr then HDV or if they just think they do. I've seen some really good stuff shot on HDV. I wouldn't dismiss it just yet.
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Look at Disjecta's pieces with the XL-H1. I have plenty of links to share if anyone's interested.

A lot of folks don't seem to understand that Canon's MPEG2 encoding is especially robust in 24F mode because of two things:

--Lower frame rate. 25 mbs for 24 fps instead of 60i (true 24fps with no pulldown actually recorded to tape)
--Progressive encoding (much easier on MPEG2)

I think the G1 is certainly expensive for a handycam but you have to consider how cool full uncompressed SDI with timecode and audio actually is. A big selling point for me with the H1 was the fact that you can bypass HDV if you need to with a more robust solution than flakey non-bnc component connectors. I've done torture tests with HDV and found that only in the most extremely high frequency motion scenes could I induce noticeable blockies. ( a CU of a babbling brook for example) When I compared the HDV to the uncompressed SDI recording via Kona/FCP--the SDI was flawless; so hence, I had a good option if faced with an extremely challenging scene.

Bottom line in all of this: Competition is great and Canon's in the game! Hopefully the response from the other manufacturers will be be even better offerings.
 
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Dxmetal said:
As much as i love the DVX 100b color mojo and the hvx200 (seen some real very2 impressive footage), once the new canon comes out, the (if still unchanged, price-wise (msrp $3999) or feature-wise (HD, 16x9)) dvx100b would be in trouble.

If i have the cash though, its HVX200 otherwise the $4k canon would me my ticket. Again because of the classic Panasonic 24p mojo !
Click to expand...

Speaking of color mojo: Many don't realize that 4:2:0 24F HDV downsampled to the PhotoJPEG (or say, CineForm) codec at 1280x720 frame size basically yields 4:2:2 color, and if downrezzed at 100% quality in SD is basically 4:4:4. HD-SDI uncompressed from the G1, downsampled to PhotoJPEG @ 100% quality in a 720p frame will be very close to full raster 4:4:4.

I think with the advent of the XH-A1, both the DVX and XL2's days are numbered.
 
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Elton said:
Wait a second...Avid Film Composer has been around a lot longer than Vegas. That was the first true 24p NLE.
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Barlow, stop fighting me. *smile* 24P is a patented & coined VIDEO term. It has nothing to do with film. Avid Film Composer cut a digital intermediate of REAL FILM @ 24fps, not 24P.

Plus, I said: "Sony veags was the VERY FIRST program to ever handle 24P and 24F footage from any video camera."
Which it was. I know, because that's how I found it and first used it back in Version 4.0b. *smile*
 
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