ATTN: Dave LaRonde

[Walter Biscardi]

[Dave LaRonde] ” there are situations where a camera can easily be damaged, and if you have the option of using a cheap camera as opposed to a far more expensive camera, your choice is clear. “

I am so NOT a fan of JVC, but for a recent Science Nation episode a researcher sent us one of these cameras with footage from Antarctica. 1080i material that was simply stunning and would never have believed it. Bright snow, beautiful blue skies, people working in the foreground and no contrast issues at all. Looked like a pro camera. We took the HDMI feed directly out of the camera and sent that through our Kona board to capture to ProRes.

https://everio.jvc.com/lineup/index.html

Definitely a high quality cheap HD camera for the “disposable” situations.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

“Foul Water, Fiery Serpent” featuring Sigourney Weaver coming soon.

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[Illya Laney]

I totally get your point, I was just being cheeky. I personally like the Canon’s even though it’s a bit harder to grade bad footage. There’s definitely a lot of situations where their size and low profile come in handy.

Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck)

[Eric Jurgenson]

I agree with Ben. These cameras just encourage newbie camera types to attempt high-end shooting with (frequently) dismal results. As an editor for an HD series on a popular cable channel, the quality of material I see coming in from these cameras (compared to a pro video rig) is (on average) pretty sad. We are seriously considering rejecting all DSLR production out-of-hand. Not that these cameras can’t produce good images in the right hands. It’s just that pros that could handle DSLRs would opt for a more professional camera.

[Jeremy Garchow]

Hate to say this, but I am glad people are coming out of the wood work to say that this camera is not the end all be all. I have the exact same experiences. Color correction can be problematic. The only thing that people see in this camera is DOF and contrast. If you look beyond that, it’s a compressed web movie at the very best.

Thanks for sharing, Ben and Eric.

Jeremy

[Gary Adcock]

[Jeremy Garchow] “How could it be a 4/3 and 16:9? Did you read my quote? It’s not 4:3. “

the IMAGER is 4 x 1/3 inches or 1.333in on the diagonal.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Illya Laney] “At 70 mph you’d have to deal with that wonderful rolling shutter issue. “

only if you are panning….

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Jeremy Garchow]

[gary adcock] “only if you are panning…. “

But if the world is panning by you?

[Gary Adcock]

[Dave LaRonde] “I’m glad someone who knows his stuff about cameras is in this forum. “

thats why they keep me around…
not good for much else.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Illya Laney]

You don’t have to be panning depending on which direction the camera is pointed. You can hold a camera totally still then point it out the window of a moving train and you’ll see the rolling shutter problem. All the vertical posts/lines near you will look like this…

Bullet Train Window

I’ve never tried it with a car going 70mph, but the same thing will happen if you point the camera out perpendicular to the direction the car is moving.

Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck)

[Jeremy Garchow]

Perfect example of the world panning by you.

Thanks.