Low/no budget filmmaker blogs daily on subjects like video production, HD cameras, screenwriting, etc.
Canon has done quite a bit of “different” thinking when coming up with its new EOS C300 camera/camcorder. Some in-depth reviews can be found here and here.
If you are one of the people who own a DSLR from Canon, you are aware of their current trend to allow the camera to function as a camcorder as well (especially, the 5D Mark II). So the new C300 shows that the Canon can drop their hybrid approach and focus fully on a camera that is like DSLR in terms of form factor but has the feature set of a full-frame movie camera.
The important question is this: “Is Canon EOS C300 going to replace Canon X line, HVX200 or Sony’s new generation of indie video camcorders“. I think the answer is pretty clear – only if you have a pretty impressive budget! The list price of the new camcorder is 20,000 USD with the “real” price being in the 14,000-15,000 range.
So amateur filmmakers can forget about this camera but if you are shooting even a (semi) professional documentary, you could definitely go for it.
It’s probably every indie filmmakers wet dream to lay his (or her) hands on an Arri film camera. Well, you got something better – the new Arri ALEXA camera!
This camera shootout is a bit old (end of 2008) but it’s quite comprehensive: 35mm motion picture, RED, EX3, HVX200, HPX170, HPX3000, Sony EX3, Nikon D90, Canon 5D Mark II, Letus35 Ultimate and Elite DOF adapters, RedRock Micro and more.
Sony HC3 is an amazing little HD camera for any aspiring filmmaker on a budget.
B&H have a used one (in excellent condition) for around $500. You can get it here.
While in B&H used equipment department, check out the other HD camcorders too. They’ve got discounted Canon H1, Sony FX1, and even Panasonic HVX200 but you’ll need more than $500 for these babies.
Although I’m not a big fan of “consumer” camcorders like Canon HV20, I’m always tempted to try them and see if they compare well to my preferred segment (that’s $3,000 to $8,000).
First off, the good news. It’s a small camera that you can fit virtually anywhere. It weighs less than a kilo (with battery), so you can CARRY it anywhere.
The sensor is a single CMOS sensor with over 2 million active pixels. That means a native support for 1080i format (1920×1080 pixels).
The bad news is its light sensitivity, mic inputs, and the battery life. Battery life can be extended by purchasing a better battery (BP-2L14) and you should definitely consider it if you’re shooting anything longer than an hour (which is most stuff).
DV.com‘s Chuck Gloman has a more detailed review of the camera. Overall, he was impressed by the outdoors footage and the form factor. I’m still not convinced I’ll trade a small-factor Sony (like Sony HC3).
I’m considering switching from my web cam to this baby. Here’s a short guide on how to select a web cam.
There’s been quite a stir every time someone mentions the RED camera.
For one, its support for 4K video (4,096 x 2,160 pixels) made quite an impact last year when RED camera stole NAB 2006.
Another point is the price … point. The body will cost “only” 17,500. If you consider the average indie producer’s budget this seems quite high but at the same time, a good zoom lens could cost that much (and more). So considering the 4K capability, you’re getting an excellent deal.
So let’s go to the schedule part. The first batch of RED cameras (50 or so) will ship in August. From then on, it’s about 100 cameras per month. About 2000 have been pre-ordered already which means that if you order today, you’ll get yours in February 2008!
Which definitely is a long wait. Fear not, some of the guys who are buying it are OK to rent it for a week or two.
I love cameras. Recently, I posted about HVX200 winning an award for design. I admit it’s a well-deserved award – HVX200 is a good-looking camera.
I just got word (and a few photos) about the upcoming Canon XH series: XH A1 and XH G1, both are based on Canon XL H1. Man, this camera is at least 10 times sexier than HVX200. Look at the specs as well:
Just compare the 1.485 Gbps throughput to my USB 1.1 vs USB 2.0 discussion. Amazing!
I’m considering switching from my web cam to this baby. Here’s a short guide on how to select a web cam.
Barry Green at DVXUser just conducted another camera shootout. The stated reason was to dispell certain rumors that the JVC HD100 performs MUCH better when the action is fast-paced. The rumor itself claimed that when shooting action, the HVX200 became a SD cam.
You can review the screenshots of the Vegas strip. To quote Barry himself, the shootout proved:
A) the HVX is every bit as high-def as the HD100, whether shots are moving or not, and any claim to the contrary is simply and easily demonstratable to be a falsehood.
B) the HVX is clearly, obviously higher color sampling, which should dispel the 4:2:2 vs. 4:2:0 controversy.
C) I could detect no veracity to the notion that there are “overexposure artifacts” in the HVX when in 1080 mode; something that was not part of the initial claim but I figured hey, this was a good chance to see whether there was truth to that rumor or not.
So if you want interchangeable lenses or a shoulder cam, get the HD100, otherwise – HVX200!
When Sony’s first HDV camcorder, the HDR-FX1, was introduced at $3,000, I thought that this will be the entry-level HDV cam for some time.
In the year that followed, 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.
Both Sony and (recently) Sanyo have come up with one CCD/CMOS models that are significantly cheaper than the 3CCD FX1. Sanyo has introduced a mini-cam that’s supports HD (720p) – Sanyo HD1. As a Sony owner though, I’ll start with Sony HC1 review.
SONY HC1 Review – Chips and Video
The HC1 has a single 4:3 aspect ratio CMOS chip. In comparison, Sony FX1 has three CCDs which are natively 16:9. The FX1 pixel count is lower – 1.12 megapixels per CCD – while HC1 has 1.98 megapixels in 16:9 mode. This matches exactly the 1080i standard – 1920×1080.
The HC1 1080i CMOS chip performs very well in well-lit environments, on par with its more expensive brethren. Colors are crisp and the resolution of the video image is really outstanding. A true HD cam.
SONY HC1 Review – Controls
Although HC1 is considered a lower class cam, it allows certain control over important functions. Most of these are automated but perform relatively well. For example, the auto-focus is quick and responsive – very similar to the FX1. Speaking of AUTO, the HC1 has a master auto switch that will put the camera in a full auto mode. The only thing you’ll be controlling in this mode is the zoom.
Sony HC1 has a touch screen and supports spot focus and spot metering. Touching the screen will reset the focus/metering to match this specific point. Another nice touch is having AE shift that allows four levels of “correction”.
You can also control the shutter speed, focus, zoom, and white balance but these are pretty obvious and taken for granted. The control over the zoom and the focus are pretty good (for a consumer cam).
All things considered, Sony HC1 is a terrific entry-level HD cam. You can use it as a disposable cam for guerilla filmmaking or as a helmet cam for extreme sports videos. Your “other” option for a “lipstick” cam is the Ikegami HDL-20. It’s a fist-size cam with some impressive sensors that’s designed for “trick” photography. The downside is the price tag (~$17,000), roughly equavalent to 10 HC1′s.
Of course, you can shoot your daughter’s birthday in HD too. Nikita Mikhalkov released a feature-long film about his daughter’s first 18 years (technically, from 6 to 18). You could be next! You should keep in mind you won’t come across as a “PRO” with a cam like that … it’s almost like using a webcam for production.
Update: Sony HC3 is HC1′s successor – read the Hc3 review.
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.
Recent Comments