Low/no budget filmmaker blogs daily on subjects like video production, HD cameras, screenwriting, etc.
Depending on where you are, Canon’s new flagship might carry different letters but the the bottom line is the same: this photo is GOOD news for aspiring indie filmmakers.
According to DPreview:
The EOS 550D redefines the boundaries of Canon’s consumer DSLR range, incorporating technologies and features more commonly found in semi-professional DSLRs into the compact, lightweight body favoured by consumers. With a newly-developed 18 Megapixel (MP) APS-C CMOS sensor, coupled with Canon’s advanced DIGIC 4 image processor and the ability to shoot Full HD movies, photography enthusiasts are empowered to explore new levels of creativity.
Yes, full HD and an ISO range of 100 – 6400 (expandable to 12800) means you’ll get a lot mileage from scenes with natural (often poor) lighting.
The camera itself is too new, so the previews have been based on pre-production units but I’m pretty excited!
Sony HVR-Z5U is the same Sony HVR Z7U, however, Sony has fixed the lens on this one. Let’s find out if it’s such a good move.
First off, the new Sony HVR-Z5U is affordable – $4200 street price ($4950 list). It’s in the same league price-wise as Sony Z1 and a bit more expensive than Sony FX1 and Sony FX7. It’s very competitive pricing considering a Panasonic HVX200 goes for more than $4,200 – and in some stores it goes to $5,000.
Let’s examine what could make you upgrade to Sony HVR-Z7U – it usually costs about $1,200 more. Both camcorders use the same electronics. The controls and I/O are a bit different but it’s more a matter of personal preference rather than anything “measurable”. The key difference is the lens – the Z7U has a 12x Zeiss lens that can be REMOVED. Just so you know, this is where your $1,200 will be going – giving you flexibility to change the lens.
The lens on the Sony HVR-Z5U is a fixed 20x Sony “G” zoom lens. In this, Sony is consistent – all its camcorders in this range have sported a similar lens – all the way back to (my beloved) Sony VX2000.
If you’re easily impressed by ZOOMs, Sony estimates the 35mm equivalent is 29.5mm – 590mm! Impressive! If you go with the Z7U, it stops at about 380mm. So in practical terms, you get a lot more tele from the fixed 20x lens. Frankly, I’m not a big bird watcher, so zoom isn’t that important to me. However, if you plan to shoot architectural videos, you might need a wider lens (or adapter).
Same as the Sony Z7U, this camcorder uses the new Sony’s ClearVid CMOS with 1440×810 photosites. Through extrapolation (i.e. software), Sony achieves 1080 resolution. The sensor deliver very similar picture to full resolution 1920×1080 sensors which cost a LOT more.
So in conclusion – do you need it? If you already have a Sony Z1 or comparable, you probably don’t need to upgrade just yet (unless money is no object).
If you’re in the market for a new camera, the Sony HVR-Z5U is a very solid choice and comes highly recommended from all the reviewers I follow. The only caveat is the fixed lens but let’s admit it, at $4,200 you won’t find a camera with a removable lens anyway.
It’s hard to keep up with SONY’s new cams for one very good reason – they are skipping numbers! I thought the successor to the very successful Sony FX1 will be called FX2. Or, perhaps, FX3.
When it comes to the product name, Sony isn’t content with incremental improvements. We’re now straight to number 7. Not so when it comes to the product itself. Maybe, Sony felt that neither Canon XL H1 nor Panasonic HVX200 changed anything in the market, so why bother.
Many reviewers have likened the FX7 release to the release of the VX2100 model, hot on the steps of VX2000 (I’m a proud owner of the latter). The VX2100 offered some minor improvements in light sensitivity and a variety of interface features that made things a bit easier for the prosumer shooter.
Let’s look at Sony FX7 and see what advantages it offers.
On the negative side we’ve got:
If you look at Sony FX1′s advantages from last year, you’ll see the camera has the same things going for it with a few notable differences.
To me, the biggest difference is the sensor. In the last year, SONY has introduced a several of his low-end HD cams with CMOS sensors (e.g. Sony HC1 and Sony HC3). Is CMOS good enough for $3,000 cam though?
Harry Haruna, Manager of Camcorder Product Planning for Sony USA, had this to say:
As for resolution, because you have the CMOS technology the FX7, resolution is much higher than the FX1 in decent light conditions. On the contrary, under low light conditions the FX1 is better than the FX7, since the FX1 has a larger CCD sensor.
Hmm, I thought FX7 was an upgrade. It looks like it’s something of a sidegrade: if you have an FX1, keep it. If you don’t, you can either get the FX1 if you need a cam with a better sensor and bigger lens or go for the new FX7 with its smaller form factor and “full” HD 1080.
Still, if I was into wedding videography or guerrilla filmmaking, the FX7 could be quite tempting.
Then again, Canon has recently introduced more affordable versions of its $9,000 monster, the Canon XL H1. At just $500 more than the FX7, it introduces some much needed competition. If I can get FX1 for less than $2000 (Apple store had an offer like that), I’d be the happiest person … for the next 6 months or so.
I’m considering switching from my web cam to this baby. Here’s a short guide on how to select a web cam.
While I’m debating with myself whether I should go for a 1080 TV or settle for a 720 one, Sharp have introduced an amazing 64 ” monitor that’s 4000×2000 pixels. That’s right, it’s effectively an 8 megapixel monitor. Four times the resolution of a 1080 TV.
That’s still about 25 million pixels shy of the UHDV format (7,680 × 4,320 pixels) pioneered by JBC.
It took quite a while for cameras to catch up with regular HD, Sony recently upped their FX1 cam to “full HD 1080″ with the new Sony FX7.
Sony’s first HDV cam, the HDR-FX1, stirred the HD video production world with its introduction an year ago. In that time several new HDV camcorders came on the market (Sony Z1 and JVC GY-HD100U). Sony’s main competitors in the DV field both have announced their HD cams: Canon XL H1 and Panasonic HVX200.
So where does the Sony FX1 stand right now? Is it still a good buy or it’s worth to wait a little longer? I’ll answer these below.
Different shooters have different needs. In my recent post about HD cameras for guerilla filmmaking, the FX1 wins fair and square. What about other uses though?
Let’s look at FX1’s advantages:
On the negative side we’ve got:
If your end-product stays on video (DVD) and you don’t need balanced audio, Sony FX1 offers the best value. Wedding and corporate videographers will have an easy time selling their services as well. The FX1 is black and sexy and although it’s not a shoulder cam (like JVC GY-HD100U or Canon XL H1), it does look professional.
On the other hand, if you need balanced audio and you hope to be able to transfer to film, it’s best to wait a bit. Here’s why:
Canon XL H1 has interchangeable lenses and supports Canon XL mount and full range of lenses. This will allow you the flexibility to simulate a “filmlook” more easily. For example, shooting with a tele lens to create a narrow depth of field.
Panasonic HVX200 is the only cam under $10,000 that supports variable speeds (including true 24p). If you’d like to create filmlike video with real slo-mo effects, this is the cam to get.
In short, the FX1 is best suited for videographers who acquire, edit, and distribute on video. Aspiring filmmakers will find the features limiting, but hey, you only pay a fraction of what others are paying so you can’t complain. If $3,000 is still too much for you, you could get Sony HC1 for less than $1,500 – it’s a more affordable, entry-level HDV camcorder.
Update: Sony released Sony FX7, a three-CMOS sensor camcorder that provides a “horizontal” alternative to the Sony FX1.
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