hd100u vs. hvx200

[Nick B]

If i was doing a feature then i would rent a camera, like Panasonic Varicam or Sony HDCAM if your going to do a big job then do it properly.

[Cris Cunningham]

[Nick B] “If i was doing a feature then i would rent a camera, like Panasonic Varicam or Sony HDCAM if your going to do a big job then do it properly.”

Thanks for the advice. I appreciate it and have considered that.

Honestly, we’re putting up a decent amount of cash and not to speak pessimistically of myself or my project, but the likelihood of selling this, is not real promising statistically. Renting for a four-six week shoot, would more than likely cover the cost of purchasing an edit bay and a hd100u or hvx200.

All that said, my path is chosen. I really want equipment to walk away with when all is said and done.

That said, can anyone offer advice as to how either camera might output to film?

I realize the hvx200 hasn’t been released, but based on what we know of the DVX100a, and looking at the upgrades in technology, any thoughts on how these might compare? Or if any other camera should be added to the list.

Appreciate any and all response.

cris cunningham
cRisCunningham.net

[Nick B]

I would go with the hvx it has a decent codec in DVCPRO100 so all other things being equal it will produce the best results.

The difference between all the cameras will be the least of your problems in the making of this film so do not get too hung up about it, if you can wait until they are all released you will get better feedback from early users.

[Donatello]

i was at resfest yesterday and panasonic had a HVX200 camera there that was “80%” finished.. they showed a clip from it on the big screen ( recorded 1080i) .. IMO the clip was useless recorded by one of their sales persons ?? 10 min of huh – why are you showing me this ? the clips they were showing on a 17″ monitor in the lobby were better then the clip they showed on GIANT screen .. panasonioc still refuses to state the CCD pixels .. bottom line is the camera is NOT ready and they are not ready to fully speak about it …

however CANON was at the show and they had working model of their new HD camera that you could put in your hands and roam around the room …

based on what is available TODAY .. IMO the best bang for your $$ would be the dvx100 or XL2 used in 24p mode and the sony HDV camera for a transfer to film.. note that many tape to transfer houses are recommending the new sony HDV camera shot 1080i then transferred to FILM as the BEST from a hand size camera ( yes even over dvx100 24p ) bottom line is it has MORE resolution then any of the SD hand size camera’s ….

[Blub06]

The so called output to film is of course a process you get to after you cut the project. You then go to a lab or other company (all of them seem to be in LA) which takes the video and transfers it to film. This process is probably the single most expensive stage of making a film on video and ending up with an actual set of film reels with your project on them.

If your point was more of which camera would provide the best image so when you transfer the thing to film it has the best chance of looking the best.. I would suggest upcoming HVX200. This camera has the same codec used on the Vericam, DVCProHD. I don

[Mike Schrengohst]

And I would not get too hung up on tape to film. In a year that will be a mote point. Huge Hollywood flicks with millions in Ad budgets cannot get released as a threatrical product, some go right to DVD. With HD-DVD and or Blu-Ray coming all bets are off for film. Just slow down and the technology will catch up. All the big theatres are converting to HDTV playback. For independent producers the technology will even the playing field. You need a good script, good actors, that is more important than the final delivery. Good Luck and let us know when you get it cut.

[Kalunga Lima]

There is a tremendous temptation to have your own gear, but from what I gathered in your question you are not an experienced cinematographer. You may well find that producing and directing will keep your hands full, never mind also having to learn how to shoot. If you have a good script, I believe that you can probably find good camera people interested in your project, including some with their own HVX or HD100. While one may possibly learn to direct and produce “on-the-job” especially if you have theater experience and/or read alot, you really don’t want to waste limited money/time also trying to get the picture and the sound right. Not only is there a lot of good gear out there, but there are also a lot of good camera/sound people out there who are investing in the “latest gear” and who’d love the opportunity to work on a feature. Trust your project and come back to this forum when you have production dates and I’m sure you’ll find not only the best camera, but someone who really knows how to use it.

my 2 cents worth
best of luck

[Cris Cunningham]

Kalunga Lima,

I’ve been contemplating this route since the germ of the idea. I suppose the desire comes from the fact that I do shoot a lot (the last two years have been heavily steeped in shooting). Even though that’s true, I still recognize that my raw talent doesn’t fall there.

So, thanks for the reminder. Last night I was thinking, “this is so huge. I’m not sure I can do this.” Of course I can’t do it…not alone.

So, cool. Rewrite the script. Hold my breath. We’ll see where this goes.

cris
cRisCunningham.net

[Noah Kadner]

Definitely- if you’re already writing and directing- let someone else shoot it. End product will be better because you’ll concentrate on writing and directing which are each full time jobs already. And you’ll spread the blame around if it turns out just ok which is entirely not unusual for first features.

Filmouts also nearly unheard of these days in the indie world. Not needed for festival screenings or home video distribution. It’s only *if* you wind up playing in 3,000 theaters would you ever need a filmout. And if that’s the case you’ll be a runaway success and your distributor will happily pay EFilm to blow up and filmout your movie from whatever camera it originated on.

Noah

[Cris Cunningham]

I should probably take a filmout out of the equation, eh (pie in the sky, I realize)?

So with what everybody’s saying, and with theatrical release not likely, would the dvx100a (with mini35 or guerilla35 adapter + lenses) be just as viable an option?

QUALITY CONTROL: in other words, would there be a noticeable quality difference between the dvx100a vs. hd100 and/or hvx200?

This also assumes that I’m purchasing equipment, which I may not do.

cris