I have an idea and most the script for a short, and really the location was the first thing to come about in the whole thing. We were at the location and knew we had ot shoot SOMETHING there because it just seemed so right. Anyway, point is that the location is being handed over and demolished in February. Between the change of season and most my potential crew going back to school, I'd like to try and do it in the next couple months. What camera would any of you suggest for an easy rental/purchase, that would be affordable, easy to learn from scratch, and give me a decent soft look as film would. I say rent because I know a person at a rental house who might be able to hook up a prime deal. I already own a Canon ZR10 but theres no way I'd use it simply because the quality is largely horrible even in home videos I make, lots of artifacting. Thanks much all.
Right camera for the quick need
- Thread starter DannyG
- Start date
D
DerekEastham
Guest
Personally, I'd recommend the Panasonic DVX100.
At the moment, it is my all-time favorite "DV for Film" camera.
I love it in 24p mode... the look, feel & texture of the image really is great, and feels a lot more like film than anything else I've ever used.
If you want an example of a short film I made, shot with the DVX... you can view it on my website, from the following link:
http://www.easthamproductions.com/portfolio/film/death.html
**Please note the following:
+To view the files you will need QuickTime software
+Most files on my site are optimized for broadband connections
+The files on my website are at 1/2 original FPS
+The file format is based on the format used for starwars.com media
Anyways... I have another one that should be on-line soon... "The Duel" is still waiting for music clearance and the completion of foley work.
The following list of my projects are things other than film that I've done with the DVX... that way you can see how it looks when it's also in the 30p and 30i modes.
> Documentary - Seattle Viaduct (30p, 30i, 24p)
> Demo Reel - Eastham Productions Ltd. Demo Reel (24p)
> Miscellaneous - Kramer Wedding (24p)
> Miscellaneous - Survivor Documentary (the footage that isn't from the CBS television show) (24p)
> Commercial - "Friends" (24p)
> Commercial - "Sensitive Men"(24p)
> Commercial - "Cost of School"(24p)
So, that's the list of projects on my website for which a DVX was the only camera used... check them out if you want... or go check a camera out for yourself... or better yet, do both.
Good luck with the shoot, I hope it all goes well, and that you find the camera you want.
At the moment, it is my all-time favorite "DV for Film" camera.
I love it in 24p mode... the look, feel & texture of the image really is great, and feels a lot more like film than anything else I've ever used.
If you want an example of a short film I made, shot with the DVX... you can view it on my website, from the following link:
http://www.easthamproductions.com/portfolio/film/death.html
**Please note the following:
+To view the files you will need QuickTime software
+Most files on my site are optimized for broadband connections
+The files on my website are at 1/2 original FPS
+The file format is based on the format used for starwars.com media
Anyways... I have another one that should be on-line soon... "The Duel" is still waiting for music clearance and the completion of foley work.
The following list of my projects are things other than film that I've done with the DVX... that way you can see how it looks when it's also in the 30p and 30i modes.
> Documentary - Seattle Viaduct (30p, 30i, 24p)
> Demo Reel - Eastham Productions Ltd. Demo Reel (24p)
> Miscellaneous - Kramer Wedding (24p)
> Miscellaneous - Survivor Documentary (the footage that isn't from the CBS television show) (24p)
> Commercial - "Friends" (24p)
> Commercial - "Sensitive Men"(24p)
> Commercial - "Cost of School"(24p)
So, that's the list of projects on my website for which a DVX was the only camera used... check them out if you want... or go check a camera out for yourself... or better yet, do both.
Good luck with the shoot, I hope it all goes well, and that you find the camera you want.
scubba
New member
I agree with Derek altough a word of caution needs to be said about this 24p modus. as I heard when this mode is engaged you lose control over most of your manual settings which can be quite a bit annoying when you need to tweak the picture a little.
Another decent choice would be the pd150, still my fav among the small sized prosumer cameras. it has a decent lens and incredibly good chips. it records in dvcam format and gives you an excellent dv picture. you can access the pedestrial/ black settings for a softer and more film like look. I dont think you have knee control, but this diesnt matter too much. what is more important are the tools you have for post production. I strongly recommend the magic bullet suite for after effects. together with a pd150 this is a real look powerhouse, capable of emulating lots of analog looks quite realistically. But of course, film is film...
Another decent choice would be the pd150, still my fav among the small sized prosumer cameras. it has a decent lens and incredibly good chips. it records in dvcam format and gives you an excellent dv picture. you can access the pedestrial/ black settings for a softer and more film like look. I dont think you have knee control, but this diesnt matter too much. what is more important are the tools you have for post production. I strongly recommend the magic bullet suite for after effects. together with a pd150 this is a real look powerhouse, capable of emulating lots of analog looks quite realistically. But of course, film is film...
D
Digigenic
Guest
8)
The Panasonic DVX-100/or/DVX-100a (the DVX-100a is the latest model) will give you a clean 24P look, whereas the upcoming Canon XL-2, which is set for release in September will give you a softer 24P look. Even the GL2, which shoots in 30P, employs a professional L series fluorite lens, similar to the one found on the XL-2, critical in retaining accurate color and giving a softer look. If you consider the GL-2, then you may also want to look into Panasonic's AG-DVC30.
With regards to lenses, Panasonic's Leica lens is also one of the best, if not frequently referred to as "The best" in the industry.
I have yet to decide for myself which is "really" the best camera, it's a matter of personal preference, and you would want to test both of those cameras for yourself before making the decision. Some really strong arguments are still circulating in defense of the DVX-100/a over the XL-2, primarily because the XL-2 has yet to prove itself to the masses, and the DVX-100/a has already made its' way into some honorable feature length productions, and purchasing/rental costs have reasonably leveled out.
In my opinion, the biggest benefit for using the XL-2 is in its' open body architecture, i.e. ability to change the lens and/or adapt to professional 35mm prime lenses as done in 28 Days Later for the XL1. As for the XL-2's "true 16:9 aspect ratio", well it's been argued that it isn't much better than Panasonic's letterbox squeeze to 16:9. There aren't enough tests to indicate which is best, but for the moment, since the Panasonic is the only camera that's officially available, it is the better of the two...
The Panasonic DVX-100/or/DVX-100a (the DVX-100a is the latest model) will give you a clean 24P look, whereas the upcoming Canon XL-2, which is set for release in September will give you a softer 24P look. Even the GL2, which shoots in 30P, employs a professional L series fluorite lens, similar to the one found on the XL-2, critical in retaining accurate color and giving a softer look. If you consider the GL-2, then you may also want to look into Panasonic's AG-DVC30.
With regards to lenses, Panasonic's Leica lens is also one of the best, if not frequently referred to as "The best" in the industry.
I have yet to decide for myself which is "really" the best camera, it's a matter of personal preference, and you would want to test both of those cameras for yourself before making the decision. Some really strong arguments are still circulating in defense of the DVX-100/a over the XL-2, primarily because the XL-2 has yet to prove itself to the masses, and the DVX-100/a has already made its' way into some honorable feature length productions, and purchasing/rental costs have reasonably leveled out.
In my opinion, the biggest benefit for using the XL-2 is in its' open body architecture, i.e. ability to change the lens and/or adapt to professional 35mm prime lenses as done in 28 Days Later for the XL1. As for the XL-2's "true 16:9 aspect ratio", well it's been argued that it isn't much better than Panasonic's letterbox squeeze to 16:9. There aren't enough tests to indicate which is best, but for the moment, since the Panasonic is the only camera that's officially available, it is the better of the two...
D
DerekEastham
Guest
scubba said:
Just a note... when the 24p mode is engaged... you loose all of the automatic functions, and the camera forces you to do everything manually... that, at least, was the case on the 1st generation of DVX-100p's...
Now with the 100A's, you keep a lot of the automatic functions...
I've never experienced a single manual-control issue with the many DVX's I've used... nor have my partners in crime on any of their projects.
Just wanted to set the record straight for the Panasonic.
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