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Will current HDV and HD cameras die soon?
I just read this article:
https://www.dv.com/columns/columns_item.php?articleId=196604392
With new DSLRs with full frame sensors shooting HD, I’m now a bit hesitant to buy a Panasonic HVX200 or a Canon HDV (whatever model) or other comparable camcorders. The DSLRs don’t need DOF adapters; the full frame sensor will probably make it shoot more film-like than with any other currently available video camera (except the Red). Do you think our camcorders will meet it’s death soon? I think everybody needs to wait and see before buying a new camcorder
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11 Replies
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Sorry but those cameras will not have the functions that are necessary for production. For starters, what about sound?
Steve Wargo
Tempe, Arizona
It’s a dry heat!Sony HDCAM F-900 & HDW-2000/1 deck
5 Final Cut (not quite PRO) systems
Sony HVR-M25 HDV deck
2-Sony EX-1 HD . -
Yes you are right. But what I’m thinking of is if they cost only around $1,000, then a camcorder built around that technology will probably be in the neighborhood of $7,000 (or probably less). That will definitely be something to watch out for.
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[Steve Wargo] “For starters, what about sound?”
Well… ya know film cameras don’t record sound either. And are the REDs sound-enabled yet?… early ones weren’t.
But yes, they would be a rather combersome production tool…. at least right now. Maybe in the future.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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This only changes so much in my outlook… I mean when all is said and done(with lenses and accessories) you’ve spent as much as you would buying an HVX… HVX also is great for audio and comes with a 16gb card now.
The DSLR for HD video is a good idea and concept, but popular features have been done with way less(XL1). I feel that if you know your equipment you can have beautiful results with whatever you have.
“None but ourselves can free our minds”
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There is ALWAYS a better camera about to come out. If you need a new camera now and can afford to buy one — or justify the expense given probable future earnings — then buy. If there’s no rush, then wait. But if you don’t buy because you want the latest and best, you can never buy.
There is also the issue of price. A fully equipped Red, including lenses, is going to run around $50,000. You can buy an EX1 or 3 for a fraction of that price. Or, you can go much cheaper with an under $1,000 Canon HDV30.
It is unlikely that full-size chips, such as on the Red, or on the upcoming Sony F35, are going to be “affordable” for most buyers for a long time to come. The 1/2″ chip on the EX1 or 3 is an amazing price break-through. Everything else in this price range remains based on 1/3″ or 1/4″ chips.
To my mind, for what it’s worth, the cameras to consider today (not tomorrow, mind you, but today) are in the roughly $7-8,000 range:
–for doc: Sony Z7u, Panasonic HVX170
–for dramatic work: Sony EX1 or 3.Rick Wise
director of photography
Oakland, CA
http://www.RickWiseDP.com
email: Rick@RickWiseDP.com -
Has SD even died out yet? I would think not. HD and HDV aren’t going to die out any time soon, either. They will be replaced by better technology, but that normally takes quite a while to come down to a consumer or even prosumer price-point. By then, we’re invested in and using HD. We’re not all going to change directions at once just because there’s a new gadget on the market.
On the other hand, word on the street is that DSLRs are about to become obsolete. If you believe that Red can do what they claim to do with the currently being redesigned Scarlet, that is.
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Can’t ever go wrong with a 24p camera. Look at the movie “28 days later”. It was shot on an XL2.
Christopher
TV Arts Program
California State University Dominguez Hills -
There have been a lot of good movies shot on SD, including 60i. As has been pointed out over and over, it’s not the camera, its the filmmaker(s). Sure we want the best “looking” video possible. A great cameraman can make great video with ANY video camera, provided he is free to choose angles, lighting, time of day, etc. to maximize the possibilities and provided he is working with or is him/her-self an inventive filmmaker.
The choice of camera is very secondary.
Rick Wise
director of photography
Oakland, CA
http://www.RickWiseDP.com
email: Rick@RickWiseDP.com -
28 days later was not even shot with a 24p mode… It was actually partially shot on an XL 1.
“None but ourselves can free our minds”
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That’s right… if I recall from the production notes I read about that film (it’s been a long time since I read that), it was shot with multiple PAL XL1s so they could shoot 25fps… which was transferred to 24fps film. Since there is only 4% difference in the speed it was (more or less) unnoticable and they were able to frame-for-frame transfer without worrying about all the complicated pull-down math or processes. I think they made some different lens choices, but just stock XL1 bodies with no DoF lens converters or anything.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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