I'm pleasantly surprised to see the Z1 and FX1 are still going strong, despite being nearly four years old, a lifetime for cameras. I thought at least the FX1 was dead when the FX7 came out two years ago, but the FX1 is alive and well, but I noticed the FX7 isn't listed on Sony's site anymore.

I wonder if the Z1 will stick around for a while longer, esp. with the Z7 and the very-cool V1 nipping at its heels. (And let's not forget the EX1 and EX3.) Time will tell...

heath

After playing with HV20, including 24p benefits for a year, my FX1 has been sitting on the shelf. However, this week I am dusting it off along with a friend's Z1, we are shooting a 48 Hour Film Project. Actually, we did do another shoot with Z1recently, for DVInfo's DV Challenge, here: http://www.youtube.com/watch?v=ehy_PS5h-KA


In pre shoot testing, I am wondering why I stayed away so long. With the great LCD, and better light gathering, I am not sure my little detour should have been undertaken.... I will report back my feelings post shoot.

yes they are. I am on the fence though, as I have a new appreciation for 24p. I guess
cineframe 30 wouldnt look bad.

yes they are. I am on the fence though, as I have a new appreciation for 24p. I guess
cineframe 30 wouldnt look bad.

In this testing, I have shot some footage using the Cineframe24 and processing with pull down removal with Cineform's NeoHDV. You might want to test it and see what you think.

The Z1 is still a great camera, pretty rugged too! I have seen the EX1 and thought how good it would be to have that, but really, my Z1 does everything I want and compared to just 5 years or so ago, it's ability to put out video that leave people with open mouths is great.
Given that most people are still with SD tv screens, I will stay with the Z1 for a while yet. I would be absolutely lost without it.

I chose the Z1u for my film 9:04 AM, and people rave about the look. I had a talented DP and gaffer, plus and excellent crew and G & E set-up, so I was lucky indeed.

To get 24p, we shot in 50i with CineFrame 25, then exported a QuickTime Movie (not conversion) using Photo Jpeg at 75% quality (YCbCr, not a drop in actual quality; later, I used ProRes 422) and used Final Cut Pro's Cinema Tools to convert it to 23.98 fps. The voices are slightly lower, and I don't recommend doing it with music and sound FX--basically, it's slowing down the footage by 4%. You can't do this on the timeline, slowing it down 4%.

heath

I'm going to see In search of a Midnight Kiss tonight on the big screen, 35mm blow up, shot on the Z1 (I don't know if they used the same approach as you heath).

It's funny how the Z1 was so maligned compared to the HD/HDV cameras that followed (too contrasty, no progressive scan, to much video noise) - I think only the JVC HD1 got a poorer rep. Yet there I am going to see the second 35mm blow up a Z1 shot movie at the cinema (last one was Once), and Searchers 2.0 was shown on the BBC a month or two ago.

They probably did the conversion to 24p within the technology behind the blow-up to 35mm film.

In my experience, the Z1u was an extremely popular camera; Sony sold many thousands of units and it became one of their most popular cameras ever.

Heath

They probably did the conversion to 24p within the technology behind the blow-up to 35mm film.

In my experience, the Z1u was an extremely popular camera; Sony sold many thousands of units and it became one of their most popular cameras ever.

Heath

Just got back. Looks like they shot 60i and converted to 24P - there was a definite regular skip in the panning shots.

However it looked great. The B/W no doubt helped.

If it were in England, I'd guess 50i. That's how I do it--easier to go to 24p from 50p.

heath

I use my Z1 for all shoots,
It's small enough to go anywere. I have been doing a bit of travel in Australia and it's held up very well with all the bumps and things it gets on a day shooting.
I have just purchased the CB-105 SHOULDER MOUNT, will see how that goes when it arrives.

How are most of you shooting with the Z1?
I shoot HD, capture HD ,edit HD and then render out to mpeg-2.

Nick

Best way to do it--maintaining an HD resolution to the end gives you better SD, if you're downconverting. If you do a downconvert via the camera into your NLE, you drop a lot of quality.

Heath

If it were in England, I'd guess 50i. That's how I do it--easier to go to 24p from 50p.

heath

No, it's an American film. I highly recommend it. Best real indie film I've seen in a while. It owes a LOT to Before Sunrise (Linklater even gets a thank you - probably for not suing!)

I'd also go for slowing down from 50i to 25p having seen the strobing artefacts in this film, but it does have it's own pitfall's - pacing can be tricky, a 4% might not seem much but it REALLY has an effect on your timing in either direction.

Many will think that it is time that these cameras are shelved, but no.... they are fantastic devices that make non owners realize that they have to up their game if they are serious about Video Production...

As my baby is being serviced... I've been editing loads and no matter what, the QUALITY is like eye scream...

I think they will never be made obsolete...

or at least I hope so....

cheers guys

You don't slow it down on the timeline--you use a program like Cinema Tools. The sound dropped slightly in my film (YouTube - mpsdigital's Channel (http://www.youtube.com/mpsdigital)). Don't do it with music and sound design, only dialogue.

heath

i upgraded to the EX1 but I miss my FX1 at times. The auto focus and working ATW is something that are great for events that I have taken for granted! Now I like to have an EX1 + Z1 for the best arrangement!

The Z1/FX1 right now are kind of the better solution (Sony-wise) for HDV matchmoving...

Don't forget about the V1u, one of my favorite cameras of all time. It was slow to catch on, at first, but when it did, it kicked major butt!

heath