JVC 200 release date?

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DP StrangeLove

Well-known member
Hello everyone,
This is one of my first posts in the JVC forum, as a new anticipating JVC HD110 or possible HD200 owner. I was originally debating between the HD100 and the HVX, bought the HVX loved the image quality, but recently shot a film in Brazil with the HD100, loved the ergonomics and image quality of the HD100 (although I thought the glass that came with the HD100 had something to be desired). So, I came back, sold my HVX because no matter, what I couldn't stop imagining my cinematography lifestyle without the HD100.

So more to the point. I am trying to decide whether to just go for the HD100, or wait for the HD200. Is there a release date that is confirmed? I thought it was going to be out by OCT 2006. Also, what is the major differences between that and the HD100? I have done some research, but have gotten some vague details. So I just want to confirm some of the rumors

1.) Does the HD200 come with better glass in its lens?
2.) Does the HD200 provide over/under-crank?
3.) Is the price going to be $8k, and is it worth the extra $2k? I am trying to decide if it is worth the extra amount compared to the HD100. I would much rather use that money for a nice mattebox, filters, etc.
4.) One of the things I will miss about my HVX is the direct file transfer from the Cam, no logging. If I get one of the newer Firestore drives for the HD200, would that be similar to working with the Panasonic P2 workflow? In other words can I just import files from the Firestore that were shot on the HD200 directly into my Final Cut?
5.) Is one of the greatest improvements with the HD200 that it can do direct composite out, avoiding HDV?

Appreciate any feedback, and I am excited that this will be my new online camera forum home.:dankk2:
 
Hi Dr.

1. The same glass (16x) is provided with the HD200 so you already know what to expect. There are some easy guidelines to achieve very good images with the 16x, though.

2. Yes, overcrank @ 50 and 60fps. No undercrank but who needs it? Any NLE will cut frames.

3. It's definately worth the extra 2k if you're shooting for HD broadcast. If you're shooting for film then there is a little bit of a gain in the better encoder chip they provide with the HD200. Otherwise the HD110 is as ideal as the HD200.

4. Actually DTE (direct to edit) is JVC's brainchild at this price point. The ProHD version of the firestore will satisfy not only your DTE desire but you can simultaneously record to tape to create your archive as well. Same timecode and datestamp on both so your edl's will match from either tape or DTE transfer.

5. You can go composite out on any of the ProHD camera's. The HD100 and 110 offer RCA connection and the HD200 gives BNC. Either way you're getting 60p or 48p 10bit 422 out of the connectors.

You'll be getting a camera that is exceptionally flexible.

Question, what are you shooting? What is your NLE workflow?
 
I will be shooting feature films as well as commercial productions.
So if you go composite out on the camera, can you avoid capturing as HDV?
If I use a kona HD card and capture through that, can I just set my settings to DVCPROHD?
Also, what type compression does the firestore device capture? Same as the HDV that goes to tape?

So the only major difference between the HD100 and the HD200 is the overcrank, and the better encoder chip?

Is there a significant qualaity uprgade with the newer chip in the HD200?

Thanks Stephen and anyone else for answering these questions.
 
I'm wondering how much better the encoder is.
I own the HD100 and it produces great video.

If the HD200/250 improves the encoder. This along with the other features are
going to make it one heck of a camera.
 
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Cant wait to try the 200, for me thats next year... but an eventuality (no I am not personally buying one). Still always excited to use something new.
 
Well, after much studying, pondering the big 'what if', and philosophizing, I think I am going to go ahead and get my HD110. I just thought I would ask for any last minute advice. basically, is this a wise decision? As you can see from the first post on this thread, I loved the feel and imagery of a HD100 that I used to shoot a feature film in Brazil, a few quirks, but overall it was an impressive camera, and I ended up selling my hvx200. For some reason, I always would think about the HD100 when I had my HVX.
So the big what if for me is, 'Will this camera be shortly out-of-date?' I would love to get the red, but it is a bit out my pocket-book, and just forget about getting on the reserve list. And basically by using the Firestore Drive, I can have future-driven technology, like on my HVX, but still have access to tape storage, right?

The one thing that really bugged me about the HVX was that there was no HD tape-backup that would match the format/res you would be shooting if you were shooting DVCPROHD, you could only back it up by down-res to mini-dv.
So many individuals have been helpful on this forum, that I just wanted to get some last minute feedback in this 11th hour of my decision. By the way, the Brazilian footage that I have shot with the HD100 completely blows people away!
A side note, since I wanted to go a little wider then the stock lense allowed, for some of the footage, I ended up gaffe taping a 72mm Wide angle lens adapter to the front of the lens element, it was an old WA lens from my XL1, I thought it would never work, but that footage is outstanding. The Vignetting from the stepdown to the 72mm falls just outside the safety. That piece of Gaff tape saved the day! Who would've thunk it that it could serve as a lens converter!
ok, I will stop my rambling about now....
Thanks everyone!
 
but the 200 is almost twice the price of the 100, and I don't think the 60p is really worth that much for me, though I know the 200 has a better encoder.
 
The HD200/250's Super Encoder really adds clarity to the Blue Alpha Channel. I have an HD100 as I can't afford more and I love it, but there is a definite improvement especially with the blue channel.
 
The HD250 pretty much has everything the hd200 is supposed to + studio capability. I have it in stock, but can not sell it yet. It has 60p, 14bit color scan, genlock, It records the image from a 35mm adapter correctly...so you don't have to do it in post, it records 720p, but outputs 720p & 1080i, it has a HDSDI out for uncompressed capture, pool feed, gen lock, built in anton bauer batterbracket or idx...your choice. It's almost the same cam.
 
having used the HD100 extensively on an independant film, I was frustrated with alot of split screen issues with the cam (one half of the screen slightly darker than the other half.) Tell me, does the HD110 or the HD200 solve this terrible flaw???
 
ripupthehwy said:
having used the HD100 extensively on an independant film, I was frustrated with alot of split screen issues with the cam (one half of the screen slightly darker than the other half.) Tell me, does the HD110 or the HD200 solve this terrible flaw???
Click to expand...
Did you have your original camera calibrated? I've logged hundreds of drum hours on the HD-100 without any issue. I had my camera calibrated right off the bat.

The HD-200 and 110 use the same type (compound CCD block) as the original HD-100. You should get the camera calibrated by JVC so that you're image is correctly recorded.

Take care,
 
Is the HD-250 HD-SDI output actually *true* 10 bit output? In other words, not merely an 8 bit quantized uncompressed output (with 2 bits set to zero) like the H1? (it's still stunning)

Anyone lined up for this cam that also has HD-SDI capture capability? I would loooove to see what this extra chroma resolution actually looks like compared to the Super Encoder.
 
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