[Steve Gibby]

Proudkmike,

If you’re used to a camera the size of the DVX100A, but need increased resolution and 24p for shooting your documentary, have you considered the HVX200, which is reportedly ready to ship before Christmas? If the HVX performs as the specs indicate, and you outfit it with quality accessories, it could be an excellent option for your documentary in 720p24 or 1080p24.

Just a thought…

Steve Gibby
http://www.cut4.tv

[Steve Gibby]

Jan,

I think the idea of a Mini-VariCamp is an excellent idea!

Every camera has a learning curve. To maximize the footage potential of any camera, the user needs to: 1) understand all the camera’s features and what they do 2) perform hands-on experimentation to see what works for their style of production 3) match the camera to productions that is it suitable for 4) continue to push the limits of the camera so you know it’s “point of diminishing returns”.

Anything that can speed up the time frame for achieving step 1 above will simply get you on to the other steps quicker. In a busy professional world there is only so much free time for learning curves. IMO $400 spent for a Mini-Varicamp, and an additional outlay for Barry Green’s book/DVD, is money well spent because it buys you a quantum leap towards your end goal – to utilize the camera in real-world productions that generate capital for you, and/or help you to realize your professional and creative goals. Time is money, and wasted time is wasted money. You can lose more money trying to save money – IE, not buying instructional materials.

Though I’ve used a Varicam and SDX900 extensively, I would spend the money on a Mini-Varicamp and Barry’s guide to accelerate my learning curve with the HVX I am buying. The nature of true knowledge is: the more you learn, the more you realize you don’t know! Rather then be a “know it all”, the keenest professional choice is to be a knowledge sponge and absorb info wherever you can get it – online, trade mags, boot camps, guide books, etc. Then put it into practical application.

Anyone who reads the various forums of DVX User and DVInfo knows by now that I am manufacturer agnostic – I regularly use cameras from all manufacturers. I’m no shill for Panasonic – but I do believe that when you get a new piece of equipment from any manufacturer, a “boot camp”, or in this case a Mini-Varicamp and Barry’s guide, are the smartest and quickest avenue to mastering the camera – even if you’re a seasoned professional user. I have 27 years of national experience as a producer, director, editor, and camera operator – and I’ll still buy these materials to go along with my HVX. Why? Because they will save me time and get me on the streets doing real world production with the camera much faster than the trial and error approach. I may know a lot about cameras, but there are always new uses and techniques to learn. Good cinematographers and videographers have a ravenous appetite for progress in equipment and techniques. To truly progress you must be teachable, adaptable, intuitive, and artistic.

Steve Gibby
http://www.cut4.tv

[Steve Gibby]

Thanks for your comments Toke. I agree with what you’ve said, although I would rather view a painting by a master artist using a $5,000 paintbrush, than a painting of a mediocre artist who somehow got to use a $200,000 paint brush. Anybody can rent technology – but they better have excellent talent and experience in order to maximize the potential of the technology.

My television production niche has always been mobile, ENG-style, where budgets are small, but the TV networks expected great looking shows. I’ve done about 100 hardlined TV shows using a truck, but over 600 shows ENG-style, with small, mobile crews. I’m one of those guys who was on the leading edge of adopting 3-chip DV for use in network TV shows in the mid-1990’s. When all my competition was hung up on everything needing to be Beta SP,I started using a Sony VX1000 and intercutting the footage seamlessly with Beta SP. When almost everyone had linear edit bays, I transitioned over to non-linear editing. With the media convergence of the mid-1990’s, I learned internet, DVD, and CD-Rom technology and offered that to clients.

The new affordable hi-def camcorders, and support from editing platforms/software will explode in use in the motion media industry in a way that will even dwarf the emergence of 3-chip DV and desktop NLE’s. I’m perfectly comfortable with using an entry-level high-def camera one day, and then using an F950 the next. I’ve got a wall full of Emmy Awards and other awards, and not one of the awards was achieved on a big budget project. On the contrary, they were all produced with very limited budgets. It’s all about what makes sense for each individual project, and the project’s budget. I check my ego at the door and simply use ALL available technology to its maximum potential.

Steve Gibby
http://www.cut4.tv

[Steve Gibby]

Well said Luis!

I don’t work in features. I produce, direct, and shoot national and international television programs. Many of the same principles you noted are accurate for the TV industry.

Achieving excellence in the industry is dependent on: 1) talent 2) experience 3) tenacity 4) technology. Being able to use a credit card and buy a 3-chip camera and an affordable editing platform will only give you enough rope to hang yourself unless you have items 1-3 above to add to the mix.

Everyone is born with certain talents. In this industry there are people who have massive talent, but only use a small portion of it – and people who have little talent, but use every bit of it. There is no shortcut to experience. You serve your time to get it, plain and simple. Tenacity is both in-born and developed. If you can’t stand rejection, you won’t last long in the media production business. The dynamic nature of technology requires media professionals to read daily to assess the new possibilities for their particular niche of the media industry.

Am I intimidated by each new affordable and capable technology? Am I worried that 18 year olds with their parents