Reasons to keep the DVX100?

Egg Born Son said:
If you upgrade to a tapeless option you will never go back.
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I've heard a lot of people say that over the years, but in all honesty, it's really not all that big of a deal to me. The trick is to just do some work while it's capturing. I can see if your in a rush, then yeah, it's a bit slower. But I know a lot of people that have to convert their data to a codec thats friendly to their editor, and that can take just as long and in some cases even longer than a 1-1 capture. So it really gets down to your patience level.

The DVX is a great cam as you know, I recently saw a piece shot on your cam, rigged with a dof adapter, then it was uprezed for output. I have to say, it looked great, vibrant and beautiful color rendition, it had an amazing filmic look that surprised the heck out of me when I found out it was SD footage.

I remember reading an article, it said something like the hvx and dvx use the same sensor or something Like that, But the jest of it was there was very little difference in actual resolution. it said something about pixel shifting to make more native resolution. I wish Barry would chime in here and clarify this as I barely remember. At any rate, its a great cam, always will be, and there's no reason you cant still make some money with it. thing is built like a tank, why they dont build to that level of quality anymore is beyond me. Money I suppose. I would keep it, for what their selling for, it's really worth holding on to.
 
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Originally Posted by Egg Born Son
If you upgrade to a tapeless option you will never go back.

Regarding this whole debate ... it really comes down to what you're using the camera for. If you're performing any type of high-volume work where it's essential to get your files transferred quickly, then tapeless is nice. It saves time. But if you're a film student, hobbyist, whatever, and you have the time to capture footage, then tape is still practical. I actually find the capturing process extremely beneficial. It allows me to review all my footage in detail (as it's being captured/played back). It seems like someone who cares about their work would want to review all their footage anyway as part of their workflow.
 
This thread caught my eye, so here are a few thoughts from a former DVX100a owner:

Positives
The cam has a lot of mojo
For DVD delivery and some web work, the cam is still very relevant
Your tape is your backup plan
Cheap to own
Forgiving on focus

Negatives
Slower workflow using tape into NLE
Tape mechanisms require care and maintenance (parts?)
Only 4:3 native, 16x9 loses some resolution

Grant
 
100B-user said:
I'm in the same boat as you. The technology is taunting me to move beyond tapes, just as memory cards enticed me enough to give up my film cameras for digital...although I will on occassion dust off my Mamiya RB 70. I've actually considered the Nikon D7000 as a combo for video and stills. However, sound is a big issue. When I play with the demo models at whichever electronic store I'm visiting, I sigh, then I come home and admire the beauty that the DVX100b has and I'm grateful for all it's great service it continues to give me year in and year out. Sometimes, old faithful friends can be trusted more than new exciting ones.
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I have to say, after using both the DVX100a and two D7000,s. The sound from the D7000 surprized me. We had the DVX locked down in a corner shooting wide with audio set for low and high on the seperated channels. Moving around filming with the D7000. There was a DJ and a guest singer. The sound levels went through the roof and we had no one at the DVX to make adjustments, AGC turned off of course. The audio from the Nikons was excellent. I was shocked, from my experience with the DVX and clipping. Audio from the Nikon's saved the event. Just delivered it and watched it on the clients huge flat screen with an awesome sound system and I was impressed totaly with the Nikons. Love my DVX100a and it did come in very handy. Just wrote all this to say, don't count everything you read about the Nikons as being truth. They do perform. I was shooting at 2200 ISO and 3200 ISO. The DVX was set to 6db. World of difference.
 
Nice for vehicle mounting. 24pA will upres pretty nicely for this kind of work. And as was mentioned above, two more pristine channels of XLR audio. I rig mine with a stereo mic from time to time and throw a tape into it. Easy sync with FCP X to my HPX170 shots. These cameras have great color. And as someone also said above, there is nothing like that 2002 look...
 
I have just recently purchased an AF100 and will be shooting a short at the end of this month. I currently don't have any plans to get rid of my DVX100a and will probably have fun with it during this shoot as a camera to capture "behind the scenes" footage as the short is being shot.
 
We've had times where we hadn't used the DVX in maybe nearly a year. But every time it pops up in the office, when we use it again for logging an old tape, for that one specific job or occasion, it does still amaze. And always we refer to it as 'good old DVX'. It really is still good, and I often wish it wasn't sd. Today I logged some footage with it, last month finished a video with it and it does still look really good. We shoot RED nowadays and while that footage is fantastic, I still long back to the use of the DVX often. It's just such a fun and good camera to use. *sigh* :)
 
How I miss the DVX, a real workhorse of a camera. I think that while its past its time it'll always have a special place for me and for everyone in general. Its the camera that broke the boundaries and raised that bar so high. I still use it now and then too. Sometimes even with all this new HD theres just something that keeps drawing me back to the cam. Its just a dream to work with. I miss those days :(

Carleton06
www.apexpicturesltd.com
 
I have a DVX100a and 100b that continue to make money for me. I use them for video depositions, compulsory medical exams and media training. My legal video clients prefer tape to memory cards because tape is easier to archive (not to mention less expensive) than copying the files to a mirrored hard drive array. Most depos are shot SD 4:3 so you don't see a lot of extraneous background. I shoot 30p either 4:3 or 16:9 and both look terrific on DVDs. SD might not be very sexy but there continues to be a demand for it. RM&E, where I buy tape stock, says they continue to sell a lot of Betacam SP tapes --- both the small field cassettes and the larger ones as well. My Ikegami Betacam is retired, however. Maybe I'll have it bronzed and put up on a mantle with my baby shoes...
 
The DVX has still been used for more fairly well known films and shows than any other camera in such a low price range...(I'm talking the whole shoot, not just used in spots) There's something about the colors and the look that really seems to sing when taken care of. I'll bet some of the newer Panny cams could do the same (just in high def) but many have moved along to large sensors. I'd love to see someone take, say an AC90 or an AC130....and shoot something dramatic with those. Lonesome Jim looked really good on my HD tv. Never knew it was shot on an on an inexpensive camera at all, til one outdoor shot popped out at me. Looked up the cam: DVX
 
There are plenty of videos on youtube that were shot with the DVX that look amazingly clear for standard def. At the prices they are going for now, they are still viable cameras to use.


Steve
 
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dusted my two 100b's off again last month and made more then they would fetch on the market. Watching the final edits on an ipad (which seems to be the preferred viewing measuring stick for most of my clients ) reminded me of why these cameras were so special.
Seems like I've made more money with them since they've gone out of fashion then I did when they were all the rage.
 
I'd like to see what a AC130a could do myself. I'd like to buy one but sure having a hard time find some 24p footage.

pulpfiction007 said:
The DVX has still been used for more fairly well known films and shows than any other camera in such a low price range...(I'm talking the whole shoot, not just used in spots) There's something about the colors and the look that really seems to sing when taken care of. I'll bet some of the newer Panny cams could do the same (just in high def) but many have moved along to large sensors. I'd love to see someone take, say an AC90 or an AC130....and shoot something dramatic with those. Lonesome Jim looked really good on my HD tv. Never knew it was shot on an on an inexpensive camera at all, til one outdoor shot popped out at me. Looked up the cam: DVX
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Zim said:
I'd like to see what a AC130a could do myself. I'd like to buy one but sure having a hard time find some 24p footage.
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Anything shot on the AC160A will be identical to anything shot on the AC130A. The changes in the AC160A won't affect 24p footage at all.
 
I understand that they are about the same cameras. I just want to know how the 24p looks. I've talk to the people at Abel Cine in Chicago and can go up there for a demonstration but would like to see some samples of 24p before I drive 150 miles up there. Doesn't Panasonic have some sample footage?
Barry_Green said:
Anything shot on the AC160A will be identical to anything shot on the AC130A. The changes in the AC160A won't affect 24p footage at all.
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