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Resfest mistake
Not really a big deal…. but I suppose someone should let Resfest know. The HVX-200 should not be clumped in with the other three HDV cameras.
On the Resfest website they have miscategorized the HVX-200 as an HDV camera. The HVX isn’t named specifically, but I’m sure that’s what they meant.
Here’s a quote: “…. Beyond DV seminar featuring world’s first look at all four new HDV cameras with projected clips;
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11 Replies
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it doesn’t say what camera’s … but you already know it is in the same group of camera’s but seems you WISH that it’s in a class of it’s own…
why should it not be clumped in with sony, canon, jvc HDV camera’s ?
bottom line the camera may not record HDV mpeg but it is in the same group of camera when talked about here and on other forums … and if you go to see the new panasonic at resfest panasonic compares DVCpro HD1080i/720p to HDV .. and you will want to see how the HVX clips compare to HDV clips on the screen and not compared to Varicam clips ( which panasonic does not show you at resfest) = panasonic considers it grouped with HDV camera by sony, jvc, canon …
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Dontello-
Whoever wrote that didn’t know the difference. I’ll bet it was a simple mistake.
You ask: “why should it not be clumped in with sony, canon, jvc HDV camera’s ?”
That’s easy- because it’s NOT HDV. It’s P2 and it’s a radically different way of acquiring media. It’s a totally new workflow. NO TAPE- NO DIGITIZING. It’s not like that’s just some insignificant feature.
I guess the only real similarity I see so far is the general price range. As far as actual picture quality goes…. well, we’ll all just have to wait and see. Who knows- maybe the difference in picture quality won’t be major… but the format is.
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you bring up a excellent point “workflow ” !!!!
i never thought about that before as it’s never been my problem ..
the panasonic is a different workflow that at the moment NOBODY has answers ?? what do you hand the client at the end of the day ?
especially if it’s long documentary type where you interviews several persons for 30-1 hrs each = 5-6 hrs at end of day = you don’t have tiem to sit down and delete sections … so i would say choosing the panasonic one had better think about workflow !!! with HDV you just hand client the tape and there is no need to think about workflow …so is panasonic making the cinematographer have to come up with the post workflow for the producer ?? forget it .. if you shoot film you hand producer the film stock at end of day = they know the workflow … you shoot tape again you hand producer the tape = they know the workflow … so what do i do with P2 cards at end of day = transfer to hard drive ? DVD ? DLT tape = since when is workflow the cinematograhers problem ??
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I’m confident that we’ll all adjust to a completely different workflow (clients too).
What’s wrong with giving the client a couple of harddrives? (One for backup). I’m sure in six months time there will be several other options as well. -
[donatello] “you bring up a excellent point “workflow ” !!!!
i never thought about that before as it’s never been my problem ..
the panasonic is a different workflow that at the moment NOBODY has answers ?? what do you hand the client at the end of the day ?
especially if it’s long documentary type where you interviews several persons for 30-1 hrs each = 5-6 hrs at end of day = you don’t have tiem to sit down and delete sections … so i would say choosing the panasonic one had better think about workflow !!! with HDV you just hand client the tape and there is no need to think about workflow …so is panasonic making the cinematographer have to come up with the post workflow for the producer ?? forget it .. if you shoot film you hand producer the film stock at end of day = they know the workflow … you shoot tape again you hand producer the tape = they know the workflow … so what do i do with P2 cards at end of day = transfer to hard drive ? DVD ? DLT tape = since when is workflow the cinematograhers problem ??”
Usually after 3-4 day shoot,You we have about 2-4 hours of material.
I can not see problem with P2 here,You hand them portable harddrive.
Better real 720p HD then dodgy HDV tape.
After all,documentaries are to be enjoyed.
It all comes to quality and BUDGET.
Speking of workflow-with P2 it is so much faster to check image and to edit as well.Why do You think Thomson are heading towards this path??
HDV is great value for money format for productions with next to zero
budget.If P2 card cost $4, we would not have this “talk” at all.
It is not fair to compare HDV camcorders to Pana200.
Pana200 will always stand out from HDV crowd,it is a different animal.
regards-jiri vrozina -
Don’t forget someone will have to be responsible for xferring the material to a Hard drive. If this means overtime for that crew member after a long 14 hour day I expect most “budgetary challenged” producers will bitch and moan.
In which case the nearest available PA who last week was working at the slurpee counter at 7/11 will instantly be promoted to P2 dubbing expert.
Tony Salgado
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[tony salgado] “In which case the nearest available PA who last week was working at the slurpee counter at 7/11 will instantly be promoted to P2 dubbing expert.”
Ha Ha…lets create more jobs Tony…before they all go to China.
jiri -
And it’s HD not HDV. That is clear difference as a mirror.
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Why thank you Ivan-
I thought I was the only nerd for a second.Cheers!
Michael
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More accurately, it’s not HDV, it’s DVCPROHD. Many people want to say “it’s not HDV, it’s P2!” but P2 is just the storage mechanism. You should be comparing compression algorithms to compression algorithms.
Anyway, you’re right… it shouldn’t be placed under that header.
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