Mike Johnson
Forum Replies Created
-
[Matthew Causon] “I should first make it clear I represent AJA”
Good sales pitch, though 🙂
[Shane Ross] “How can we describe how it will look?”
Yes, I know, a difficult question. Your comparison helps put the LHi in perspective. I guess that’s what I should have asked for 🙂
I definitely appreciate your input. This is new ground for me and I want to make sure I suggest the correct piece of hardware for the job. Thanks!
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com
-
Thanks for the correction. I checked AJA’s website again, and I guess I misread the specs on the LHe.
So…. It looks like its the LHi that I need. Before I convince the boss to drop $1200 on it, what can we expect the upconverted quality to be like? All of my SD source is DV-NTSC. My HD source is HDV 1080i60. I will either upconvert to HDV or ProRes. Is the Kona LHi the best solution for the price? Or is there a better option?
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com -
Looks like I might have my solution. I found out this morning that someone purchased an AJA Kona LHe before I started here. They never could figure it out, so it has sat idly for about 3 years now.
I looked up the specs on the Kona LHe, and it appears that it will meet my needs.
Thanks for the input, guys!
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com -
Noticed a couple of dead pixels while shooting earlier this week. I can access the Advanced Function Menu, but cannot select the “Pixel Compen Det” option. I know on the HD200 you have to be in 24p mode, so I tried that with no luck. Any knowledge on what mode the HM700 has to be in to activate the pixel compensation option?
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com -
The HM700 is a great camera. I’ve been working with one since May.
JVC makes 2 CCU units that work with the HM700.
If you’re on a budget, the RM-LP55U might be a good choice. Its $600 from B&H.
https://www.bhphotovideo.com/c/product/76033-REG/JVC_RM_LP55U_RM_LP55U_Full_Function_Hand.htmlIf you’re looking for a more professional studio setup, then there’s the RM-LP25U. Its $4185 from B&H.
https://www.bhphotovideo.com/c/product/507740-REG/JVC_RM_LP25U_RM_LP25U_Local_Remote_Panel.htmlHere’s a good link from JVC to check out when searching for accessories for the HM700: https://pro.jvc.com/prof/attributes/accessories.jsp?model_id=MDL101851&feature_id=05
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com -
A couple things I don’t like about the XH-A1 are 1) the variable-aperture lens only allowing a fstop of 3.2 (I think) when zoomed all the way in (though the 20x is nice)
A lot of lenses do this. It called F-drop. Not sure why, but is very common on the”prosumer” style cameras. JVC’s new HM700 has a Canon lens option that has no F-drop. But its a very wide lens (4.4 to 62mm). The Fugi 16x that comes with the HD200 has no F-drop as well. Either way it will be an adjustment from the 20x your used to. I do know the 17x Fugi that comes with the HM700 does have F-drop, but its not as extreme as the XH-A1.
3) the useLESSness of the EVF and having to rely on the LCD, which displays brighter than is actually being layed to tape
The HD200 does not have a good EVF either. Mine causes me eye strain after about 30 min of use. The LCD is much easier to work with, but like you said, its not accurate. I will say that on the XH-A1 you do have a lot more adjustment controls for the LCD display than the HD200 does, so you can at least get close.
What I probably most disliked about the XH-A1 was the variable-aperture lens. I don’t have much interchangeable lens experience, but I’m assuming the Fugi 16×1 isn’t variable-aperture and will allow me to shoot wide open when I’m zoomed all the way in. Is this right?
Yes, this is correct. I shoot wide open at full zoom and get an amazing depth of field.
What option do I have if I want to rent other lenses for specialty projects?
Depends on what rental houses in your area offer. Any 1/3″ bayonet mount HD lens should fit the HD200. You can also get adapters to go to 1/2″ bayonet, PL mount, and 35mm DSLR lenses.
I used to have an old still camera that had a “bayonet mount” for its two lenses. Is this the same bayonet mount on this JVC?
More than likely not.
If so, does this open the opportunity to use prime lenses or do I need some sort of adapter to make sure it’s projecting the right size image into the camera? I’ve heard there’s an image-flip switch for use with a diopter, and thought it might be because of this.
You can use SLR and DSLR lenses with an adapter. There’s the Letus35 which mounts to the filter threads on the end on the lens that allows to you use 35mm SLR and DSLR lenses. Its pricey and I don’t like the fact that it mounts to the end of the camera’s lens. The other option I recently found is a 1/3″ bayonet to 35mm Nikon adapter. https://www.mtfservices.com/mtf-products-list/mounts-and-adaptors/82-nikon-g-to-13q-bayonet-adaptor.html This allows you to add any Nikon mount 35mm SLR or DSLR lens directly to any of the ProHD 1/3″ JVC cameras with only this adapter. I’ve read lots of great reviews, but haven’t tried it myself yet.
I’ve heard some stories from a couple people about some cameras, including the JVC GY series that allow you to bypass the HDV compression via firewire for a better 4:2:2 colorspace or just more bits per frame. Now, I understand these are mostly “he said she said” stories, but is there any truth to this rumor?
You can bypass recording to tape, but I’m not so sure about the 4:2:2 rumor. It could depend on the capabilities of your HDD recorder.
I’ve never worked with Anton Bauer batteries before. How many hours can I expect off a fully charged battery with the LCD open?
I love ’em and don’t want to use anything else. The Dionic 90 is amazing. On the HD200, you can expect just short of 4 hours of continuous record time on one charge with the Dionic 90.
Can the ear piece be removed?
Yes.
Does the VU meter show up in the EVF?
Yes, if you set the display settings to do so.
Are the audio level controls easy to get to with your left hand while shooting?
Yes. They can be a bit hard to find, being so small.
I don’t know how useful this is, but the XH-A1 has a +12dB boost in the audio menus for mics directly connected to the camera. Does the JVC have something like this?
Yes, but rather than having to go into a menu, there is a mic/line switch.
Where do babies come from?
Well, it all starts with the birds and the bees…
I’ve seen some reviews and heard talk about problems with dead pixels from the 200 series. Is this on the LCD, EVF, or the recorded image on tape?
Its an issue with the CCDs. There is an advanced menu that lets you reset the CCDs and rids you of the dead pixels. Just google HD200 dead pixels and you should find instructions on it.
I’ve mostly done product DVDs and primarily use the 1080i60 format on the XH-A1. The specs for the JVC have only 60p and 30p options, yet I saw in a review where there’s an option for 1080i when recording via firewire. Is this 1080i option actually available, and if so is it not available for tape recording as well?
The JVC HD series does not shoot 1080i. It shoots 720p. The nice thing about it though, is its a full 1280×720. With 1080i HDV camera you record at 1440×1080 with anamorphic pixels. I always shoot 720p30. If your finishing in SD, this still gives you options for reframing in post. Yes, the firewire output does allow you to do 1080i to an HDD recorder. I’ve compared the 1080i60 format of the Canon XH-A1 and XL-H1A with the 720p30 format of the JVC HD200, and I think the image quality from the HD200 is a little better.
Haven’t shot 24p since the first days of the DVX-100b. Is “true 24 frames progressive” still as stroby at about 1/48th shutter?
Not sure. I shoot in 30p. Haven’t had a need to shoot 24p.
Could there possibly be an end to this list questions?
I hope so…
How’s about the low-light performance compared to the XH-A1? Any real issues if I have to shoot on medium gain inside a factory?
Low light performance is better than the XH-A1. Medium and even high gain on the HD200 is usable if need be, and much better than the Canon.
I’ve heard that the GY-series integrates perfectly with FCP, and that it’s completely incompatible with FCP. I’m currently running the latest update in FCP6. Are any detectability issues resolved with FCP7?
I have had no issues with FCP6. Just be sure that you provide plenty of pre and post roll when you shoot. I don’t know if its FCP or the camera, but I lose exactly 6 seconds between shots when I capture. Its annoying the first time, but after that, I just roll tape for 10 seconds prior to the take.
Is the GY-series’ HDV compression long-GOP or short-GOP?
Long. I believe all HDV tape is long. But I could be wrong.
Thanks for any help you can offer in answering this plethora of questions.”
Hope it helps!
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com -
In FCP, go to File > Import > Batch List. I believe you will need to save your spreadsheet as a text file.
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com -
Have you run any updates to QT and FCP since you got the camera? You may need to do that in order to get the proper codec to actually read the QT files. I ran into the same issue on one system at work that hadn’t been updated in some time.
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com -
The KA-551U is the correct adapter plate.
Thia page on JVC’s site has a list of accessories that fit the HM700: https://pro.jvc.com/prof/attributes/accessories.jsp?model_id=MDL101851&feature_id=05
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com -
You might try using a subtle strobe effect to remove the flicker from the footage you already shot.
To prevent the flicker while shooting, try adjusting your shutter speed until the flicker stops.
Mike Johnson
Final Cut Pro Editor
Drury Outdoors
http://www.druryoutdoors.com