HPX250: Decisions, Decisions...

Jim Simon

Veteran
I'm looking at a couple of possibilities for some new equipment. My work is both event videos and production videos. I do try and make the former look as much like the latter as possible.

Someone who knows what they're doing, who has the time to set things up just right, who can redo the shot if necessary, can make just about anything look good. But for event work, we don't always have that luxury. We get no control over the scene, the lighting, or the action. And most often, there are NO retakes. You get it perfect the first time, or you don't get it, period. Yet we still have to produce a professional product, and I want mine to look as much like a Hollywood production as possible (or at least like an indie Cannes entry), and that means the camera itself has to have certain capabilities. Specifically I'm looking at things like dynamic range, as in the ability for the camera to "see" out a window when the subject is standing in front one, the ability to get a decently exposed and clean image in minimal lighting (think wedding reception), the ability to perform fast and accurate autofocus in all shooting conditions, and all of this done while recording at 1080pN/24.

So here's my choice. Get a used HMC150 now for event work, and when they're out, pick up a Blackmagic Design Cinema Camera for the production work. Or, just get an HPX250 for all types of work.

I'd love to hear from folks who've used both Panny models, for production and especially for event work. What are your opinions on the two cameras? How much of that "Hollywood" quality will each get me under run and gun conditions?
 
Hum, I had the same issue with what camera to get. After all my fussing I came to the conclusion that I needed to get something that would fill my need for what I currently do but with some growth. So I got the 250 for many different reason. After using it for sometime now I am very happy with the work it has done. A clean picture can be had during run n gun I do it, takes some getting used to to make sure the auto settings don't take over too much. I love the DRS but it wont work at 1080pn/24 there are some limits so you need to see if that is a deal breaker for you.
 
Thanks for the post. Had you used the 150 previously? Are you able to make a comparison between the two on the key issues of highlight handling and auto-focus in low light while shooting 1080p/24?
 
Sorry never had a 150, I went from SD to HD with this camera. There are many posts here about the 150 and 250 just takes some time to find them.
 
I've been hashing this out since the original announcent if the hpx250 and ac130/160.
The last few wedding receptions reminded me of just how fast things happen, how the lighting is crazy and there's a barrage of photographer flashes to deal with.
The hpx250 has flash band compensation to help with flashes but autofocus must work with the way we shoot.
during receptions 1 camera may be on a remote jib or steadycam and I just cannot focus manually while flying the camera around obstacles and people and keeping the shot framed right.

I Too am looking at the blackmagic cinema camera for special shots depending on how well it turns out and when I can afford it.

Handheld shots during events frequently can be held way over my head and scooting across the floor. Again, during those type shots auto must work.
I have decided that the best choice for me is the hmc150 because it's CCD, auto works and low light is supposed to be pretty good. I don't like that its old, not full raster 1080 and has a short zoo
. It's also only single card. It's not as sharp as the CMOS cameras but getting the shot is better than not getting the shot, even if it's not quite as sharp as it could be.
There are also other things we shoot like automotive events, stunts and things where I need hmc150s.

For the staged corporate work, greenscreen, love story pretty videos and easier things I plan to use the 250. (wish it could do 1080 60p) but I feel the 150 is going to have to be the choice for the fast event work, action stuff, jib and steady cam. Just don't think 250s can do it all due to 3MOS and auto issues.
 
Well, here's the answer: you are not going to like the autofocus on either of them, in low light conditions, at 24p. That's a nightmare scenario for autofocus. Bright light at 60p/60i, they autofocus brilliantly. Low light, in 24p, no -- they will struggle. That said, the HPX250 will struggle more than the HMC150 because it's sharper and has a longer lens with more glass to shuffle around.
 
the HPX250 will struggle more than the HMC150 because it's sharper and has a longer lens with more glass to shuffle around.

That is the kind of experience I was looking for. Thanks.

Can anyone else confirm? Deny? Is the additional "struggle" of the 250 a deal breaker for wedding receptions? Or is it more of a minor annoyance that other benefits of the 250 far outweigh?

Looking for real experience with both cams here, nothing theoretical.

And I'm still wondering about the Dynamic range of the 250. (Unfortunately, Zacuto's 2012 shootout did not include this model. I would LOVE to have seen how the 250 handled their base 14 stop scene.)
 
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The picture quality of the 250 is excellent. I think the electronics have a bit more in them than the 160 as it is really a cut down 370. Having never relied on or used auto focus in my life I cannot find anything wrong with the 250 for my needs. I have been shooting for 45 years and this camera comes closest to my ideal for its price point.
 
I hardly ever use autofocus. And there is so much depth of field on the 250 in medium and wide, that you really can't miss, especially for weddings. For boom shots, you usually are in wide. Everything is sharp at wide. Of course, I've been shooting manual for 30 years, so I'm used to it. .. It's kind of like playing a trombone. After a while, you know how much to twist the focus ring for focusing.
 
I hardly ever use autofocus. And there is so much depth of field on the 250 in medium and wide, that you really can't miss, especially for weddings.

I have to agree, especially since in a low-light situation at a wedding you're really restricted in your use of the zoom due to light loss (it starts stopping down almost immediately). So for the most part you'll be shooting fairly wide to maximise on available light, which means incredibly deep depth of field. I don't know what the hyperfocal distance of the HPX-250's lens is when fully wide/fully open, but it's probably not too far from your nose.
 
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