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- Thread starter FloyBossinas
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Hey Floy.
As you may know, they are essentially the same camera. The PD150 is the DVCAM version of the VX2000, plus some better audio input and controls.
DVCAM is a prorieatary Sony format based on the regular DV specification. It is considered a professional format. You can learn about it in depth at Adam Wilt's DV FAQ. An overview of the salient points:
-DVCAM has a wider track pitch than DV, so it has 50% less dropout (according to Sony- I don't know anyone who's ever complained about dropout with regular DV).
-The tapes themselves are more robust.
-DVCAM uses "locked audio," which allows for frame-accurate audio synch when editing deck-to-deck. This is not an issue if editing digitally.
-DVCAM adds setup, which means it's black levels are compatible with with NTSC (North America's) standards. Regular DV uses the Japanese standard for black level, so it is not legal for broadcast in the US. Regular DV has to be adjusted for television broadcast, so you have brightness problems.
DVCAM really is a profesional format- Sony has discontinued it's Beta SP line and has replaced it with DVCAM. The PD150 is very popular in the industry. So popular, in fact, that Sony artificially engineered a shortage of the PD150 because it was taking away sales from their higher-end cameras.
The disadvantage of DVCAM is that the mini-size tapes (what the PD150 uses) cost twice as much as regular DV tapes and have a maximum recording time of 40 minutes.
If you intend to broadcast on TV or want to hire yourself out as a professional camera person, then go with the PD150.
For what it's worth, when I had to make this decision, I chose DVCAM and I am happy with the choice.
As for lavaliers: Sorry, I don't have any advice for you, except go with UHF, since this is New York City, after all.
As you may know, they are essentially the same camera. The PD150 is the DVCAM version of the VX2000, plus some better audio input and controls.
DVCAM is a prorieatary Sony format based on the regular DV specification. It is considered a professional format. You can learn about it in depth at Adam Wilt's DV FAQ. An overview of the salient points:
-DVCAM has a wider track pitch than DV, so it has 50% less dropout (according to Sony- I don't know anyone who's ever complained about dropout with regular DV).
-The tapes themselves are more robust.
-DVCAM uses "locked audio," which allows for frame-accurate audio synch when editing deck-to-deck. This is not an issue if editing digitally.
-DVCAM adds setup, which means it's black levels are compatible with with NTSC (North America's) standards. Regular DV uses the Japanese standard for black level, so it is not legal for broadcast in the US. Regular DV has to be adjusted for television broadcast, so you have brightness problems.
DVCAM really is a profesional format- Sony has discontinued it's Beta SP line and has replaced it with DVCAM. The PD150 is very popular in the industry. So popular, in fact, that Sony artificially engineered a shortage of the PD150 because it was taking away sales from their higher-end cameras.
The disadvantage of DVCAM is that the mini-size tapes (what the PD150 uses) cost twice as much as regular DV tapes and have a maximum recording time of 40 minutes.
If you intend to broadcast on TV or want to hire yourself out as a professional camera person, then go with the PD150.
For what it's worth, when I had to make this decision, I chose DVCAM and I am happy with the choice.
As for lavaliers: Sorry, I don't have any advice for you, except go with UHF, since this is New York City, after all.
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ute (dude, what's your real name),
I do know that they are essentially the same camera. But a good friend of mine owns the VX2000, but when financed to make a film was sent the PD-150. I have creative friends from NYU who can't answer one simple technical question, like (thank you) the info you posted above. There are a lot of add ons which of course add up, so I needed to decide if it's worth the extra grand (I woke up this morning decided that it was). I'm actually shooting my current project in the 'country', but I'm highly sensitive to shoddy sound, I'm a real proponent of the 70's excess of it-if you have any reaction to that that would be awesome.
I do know that they are essentially the same camera. But a good friend of mine owns the VX2000, but when financed to make a film was sent the PD-150. I have creative friends from NYU who can't answer one simple technical question, like (thank you) the info you posted above. There are a lot of add ons which of course add up, so I needed to decide if it's worth the extra grand (I woke up this morning decided that it was). I'm actually shooting my current project in the 'country', but I'm highly sensitive to shoddy sound, I'm a real proponent of the 70's excess of it-if you have any reaction to that that would be awesome.
Sorry, I'm not clear on what you're saying. You like the excess of shoddy sound found in productions from the 1970s?
Since you're buying, not renting, I'd still reccommend UHF over VHF. The frequencies are less congested, and you may want to use the mics in the city sometime.
What are you shooting?
Since you're buying, not renting, I'd still reccommend UHF over VHF. The frequencies are less congested, and you may want to use the mics in the city sometime.
What are you shooting?
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Wowee, I just had a window here at work and read through Minolakis's looks like film thread carefully. Very helpful in making a final decision. But I started this thread b/c I am also concerned about sound.
By shoddy, I simply meant bad sound. Documentary style that when shooting fiction takes you out of the reality of the story.
i love movies from the 70's-ten people around a table all talking- most using silverware and yet the primary dialogue is not lost.
Very simply, they used a lot sound. I'm going to give this style a go on my current project.
I'm expressing things so simplistically, because I'm still unsure of how to work 'the damn things,' but I absolutely do know what I want, locked into it completely in theory (I'm by all means a film nerd and started off in film pre dv days), just don't have the hands on experience yet to make something look real polished. Polished everything is what I'm trying to learn about right now.
But Ute, sorry but not on the IRC, identify yourself and maybe I'll chat you up sometime about my very exciting film which will look very polished and professional.
By shoddy, I simply meant bad sound. Documentary style that when shooting fiction takes you out of the reality of the story.
i love movies from the 70's-ten people around a table all talking- most using silverware and yet the primary dialogue is not lost.
Very simply, they used a lot sound. I'm going to give this style a go on my current project.
I'm expressing things so simplistically, because I'm still unsure of how to work 'the damn things,' but I absolutely do know what I want, locked into it completely in theory (I'm by all means a film nerd and started off in film pre dv days), just don't have the hands on experience yet to make something look real polished. Polished everything is what I'm trying to learn about right now.
But Ute, sorry but not on the IRC, identify yourself and maybe I'll chat you up sometime about my very exciting film which will look very polished and professional.
Floy,
Sorry, I'm not trying to be cryptic. My identity is not a secret on the IRC - check out this thread, here in this very Forum, from 5 days ago.
My name is Jamey C. Shafer, and I run a production company called Inkling Productions. Inkling specializes video and new media design, from content creation through post production. We also do films, documentraries, and shorts. Here is one of my favorite comedy shorts (high bandwidth, make sure your volume is up).
I enjoy improv, filmmaking, and long walks on the beach.
Sorry, I'm not trying to be cryptic. My identity is not a secret on the IRC - check out this thread, here in this very Forum, from 5 days ago.
My name is Jamey C. Shafer, and I run a production company called Inkling Productions. Inkling specializes video and new media design, from content creation through post production. We also do films, documentraries, and shorts. Here is one of my favorite comedy shorts (high bandwidth, make sure your volume is up).
I enjoy improv, filmmaking, and long walks on the beach.
Just a thought, have you considered a Boom mic, or shotgun mic? They beat the pants off Lav mic. So if your spending the money, do it up right. If you require mutiple things getting pulled in (Altman MASH style) would suggest, doing what he did, and get two booms if you can afford it. If not, have your boom operator move from one hot sound to the next. It works.
Azden SGM 2X makes a great one for $200, or $120-75 used.
Azden SGM 2X makes a great one for $200, or $120-75 used.
New, or used, I'd say B&H is the way to go because that's where I got mine and they know there shit. Gitzo makes a great pole that's sturdy, solid, and very reasonablly priced. They have a one for around $110 and $160-170.
Looked into building my own boom mic cheap with one of those window washer extension poles, then realized I have $215 hanging from there and don't know what could happen if something comes undone, so I shelled out the $160 for the boom pole to make sure it's safe and right...besides now I got 14feet to cover sound, and everything is rock steady. Enjoy, and kick some ass with the new stuff!
Looked into building my own boom mic cheap with one of those window washer extension poles, then realized I have $215 hanging from there and don't know what could happen if something comes undone, so I shelled out the $160 for the boom pole to make sure it's safe and right...besides now I got 14feet to cover sound, and everything is rock steady. Enjoy, and kick some ass with the new stuff!