HVX200 or HVRZ1U?
- Thread starter OrsonRP
- Start date
( Erin Brokovich adapted quote)OrsonRP said:
Sure thing Orson. I didn't want to boor you with an unsolicited list of complaints in my previous post.
SPZ did a good job outlining the technical drawbacks including HDV vs. true HD. Apart from that set of issues, the camera really seems to be set up as a consumer camera rather than a pro configuration.
1. Very menu driven- many important features are deep within it's complex and counter-intuitve menu system.
2. The cameras auto/manual switches are set up to favor automatic usage rather than manual. It's very easy to have auto gain and auto shutter speed on without being aware that they are. The instrumentation for these features is confusing at best. This is one of my major gripes with this camera.
3. Audio monitoring- the output from the jack is so low as to be useless in all but the most quiet of environments. It's a gross design flaw. If your company goes with the camera, run don't walk to the nearest Radio shack and buy their headset amplifier module. They are about $25.00 and neccesary for this camera. Of course, now it has to be attached to the camera. We use zip ties and attach it to the handle or a Jimmy Box.
4. Buttons buttons everywhere... This camera has more buttons on it's exterior than any other I know of. It's a problem in and of itself but the hassle is compounded by their location and the kind of features they operate.
Up below the handle are the "shot transition" buttons. These are the consumeresque nifty-cool transition effects between takes. They are also right next to the handle, easily pushed, activating the shot trans modes. These buttons on my camera are coverd with several layers of gaffers tape to reduce the possibility of activating them.
5. Confusing procedures required to set WB. It's neccesary to push several buttons to toggle between several buttons to either set a custom WB or use preset modes. It's neccesary to designate whether one is going to use a daylight or tungsten WB on the preset toggle switch. You cannot switch back and forth between the two presets, because you have to assign one or the other to the swith in the menu system. Why this is a menu item, I have no clue. It's epecially annoying considering that there are buttons for cheesy features in bad places on the cameras exterior. Yes- the "shot trans" buttons...
6. The camera is extremely vulnerable to the elements. We have had three go down and now have an extra one on set. A single drop of water in the wrong place ( not exaggerating) will send the camera off to na-na land. There is a huge gap around the tape door among other places. On my camera I've resorted to taping up some of the seams on the top of the camera. I've suggested using silicone sealant on these seams to the directors/producers as well. The engineers who did the last repair, told us that their is some circuitry on the top of the camera that is extremely vulnerable and susceptable to failure. Our track record bears this out.
I've owned a PD 150, and currently own a DVX 100, 100A and HVX 200, and never seen a camera this vulnerable to the elements.
7. Pause mode on constant "snooze". If this camera is on standby long enough, it takes seemingly forever to roll again after hitting record. 10-15 seconds is not uncommon. Forget trying respond quickly to action when in this scenario.
8. It says "Sony" on it. Several years back I started getting fed up with Sony and their cynical feature specifications and approach to products. I've shot Betacam for most of my career, and there were few options to the big "S" until recently. I did use an Ikegami HLV-55 for a few years and loved it. Ummm, Ikegami...
Now, Panasonic (and Canon) after it's M2 debacle, is a wonderful alternative to Sony offering alot of camera and spec for the money. The cameras at this market segment are a dramatic illustration of this. Although I'm a Panasonic guy, the XAH1 is an incredible camera compared to the Z1U.
Ironically, this camera was chosen for our show by an executive with no shooting background. Apparently, The brochure and printed specs were just too tempting. This is such a common dynamic in this business- bang head against wall.... Now, we are stuck with the camera for this past season, the one to come , and the budget wad has been spent.
Well unless, all of the cameras were to be in a car that was unlocked with a sign that said "video cameras inside" on the windshield.... ;-O.
DO whatever you can to steer the boss-man in another direction. If P2 doesn't work for your scenario and you need tape, by all means go with the Canon XAH1 over the Z1U. That's my two cents.
arrestthisman
Well-known member
RE the original post:
I have no clue Orson! HDV is really not in the same league as DVCPRO HD. It's cheaper, sure, but a show no matter how small should have a reasonable budget for aquisition.
At any rate. It'll look fine for TV. But HDV really needs quick a workout in the post-suite to get it ready for the big screen... even then, the most it's been used for is b-roll.
HDV/sony cams are a fine solution for commercial work. Low bitrate, tape, etc. but it really stinks compared to a Pro codec. And there is no excuse for motion artifacting INSIDE the cam before you even recompress it in the suite!
But hey 33:1 or some rediculous ratio like that, even wavelet's going to have problems. And HDV ain't no wavelet!
So yeah, they probably got a deal or it fits in their workflow better.
Editing DVCPRO HD is not THAT difficult, but it's a bigger stressor for post (and more $) for storage and proc power. Plain old more data. You're dealing with 13MB/sec with DVCPRO HD. Not 3.5MB/sec. big difference for all components concerned
I have no clue Orson! HDV is really not in the same league as DVCPRO HD. It's cheaper, sure, but a show no matter how small should have a reasonable budget for aquisition.
At any rate. It'll look fine for TV. But HDV really needs quick a workout in the post-suite to get it ready for the big screen... even then, the most it's been used for is b-roll.
HDV/sony cams are a fine solution for commercial work. Low bitrate, tape, etc. but it really stinks compared to a Pro codec. And there is no excuse for motion artifacting INSIDE the cam before you even recompress it in the suite!
But hey 33:1 or some rediculous ratio like that, even wavelet's going to have problems. And HDV ain't no wavelet!
So yeah, they probably got a deal or it fits in their workflow better.
Editing DVCPRO HD is not THAT difficult, but it's a bigger stressor for post (and more $) for storage and proc power. Plain old more data. You're dealing with 13MB/sec with DVCPRO HD. Not 3.5MB/sec. big difference for all components concerned