Starting this thread was suggested to me on the DV953 Forum.

There were aspects of what is involved on my decision making that I didn't think were pertinent there. Chris Hurd suggested I took here, so here I am.

Over the past two months I have been gathering information in order to buy a DV camera. My first approach to this and other DV Forums was trying to discuss video to film projects or experience, as I am presently involved on several documentaries that I might blow to 35mm.

This is rather a necessity, because in my country it's easier to get to show your video as a film in a theatre that as a proper video in TV. And even if I am a "fiction person", producing a documentary is a good way to start things moving and get something done for less money than a fiction.

So back to the camera decision. If film is the final destination, then PAL seems to be the way to go. First obstacle: Brasil is an NTSC country (contrary to what many believe). So to make a video version of my project would demand a PAL/NTSC transfer. First solution: there seems to be two new affordable software programs that seem to make this step quite transparent.

Next question: which camera? The object of desire would be the Panasonic DVX100 (soon to be released in improved A version), but not really affordable for me at the moment.

Other options, sold for around $2,000 came into focus: Canon GL2, Sony PDX10 and Panasonic DVC80. The GL2 will probably be replaced soon and the PDX10 seems to have some vertical smear problems in high contrast situations, which might be amplified when blowing up. A pity, because it's the only native 16:9 type of the prosumers.

So when I was almost going for the DVC80, I got to know of the DV953 family (GS100 and MX500 belong there). The question now became whether a 1/6" CCD would behave well when blown to a theatre screen. Still hoping to find some curious person who has such cameras to record a DV tape for me so I can take them to the labs and ask feasibility. The attractive thing in this camera is price, being half the DVC80 price. For the same price I could buy two cameras and use them as A and B cameras right away. A tempting choice.

Please excuse this long introduction, but here gets the business question I am now asking to myself: why not rent the camera when I am not using it?

Two weeks ago I had to rent a PD150 or similar camera for a Saturday shoot and all were rented! It looks like there might be a market for one.

There's another information which is important: I make a living renting location audio equipment for film and TV. So I have all the connections to make this video rental happen properly.

There's one catch: the camera has to be NTSC. So the PAL option, which makes a film blow-up better and cheaper, has to to be forgotten for now.

So here I am, back to square one. The Panasonic DVC80 seems to be the way to go once again. It's better than the new PD170 and could work as B camera if I buy a DVX100. In the meantime it could get me some money.

Any comments or suggestions? Is anyone renting their DV cameras? Pros and cons, like fragility or anything?


Carlos E. Martinez

If you want to rent the camera, then buy the one people want the most, which these days seems to be the DVX100.

Carlos I see you’re over here now....

So as to the camera question of your camera it comes down to a couple of questions.

What is type of postproduction are you looking for?

What type of media are you looking to produce?

<<<-- Originally posted by Tom Neumann : Carlos I see you’re over here now....-->>>

At least the matters I was discussing or mentioning are not taken as alien. In fact I think it was my mistake raising them there.

<<<-- So as to the camera question of your camera it comes down to a couple of questions.

What is type of postproduction are you looking for?

What type of media are you looking to produce? -->>>

For my original project I am now looking at a two stage plan:

1) Get the three 26' documentaries done in NTSC video, only taking care to treat them as "probable blown-up".

2) When the three are shot and edited, try an edit including the three of them. Then see how it works as a potential long feature film.

In any case this decision should be done before I sell these programs to cable TV, or theatrical release would be blown.

So the media would be video and film, for the different markets.


Carlos

<<<-- Originally posted by Dylan Couper : If you want to rent the camera, then buy the one people want the most, which these days seems to be the DVX100. -->>>

There's 1,000 reasons to go for the DVC80 at this moment. That difference would let me get the other stuff, like a proper tripod, batteries, filters, etc.

It would also let me wait until the X100A version comes along.



Carlos

DVC80 lacks XLR connections and there are still issues to deal with on the DVX100. Hoping the new DVX100a resolves this.

either the DSR250, 300 or 500 looks to be the better models for film and on the Pana side the DVC200 where you have better control.

The above post is incorrect -- the DVC80 does indeed include XLR connections. Please be sure of the facts before posting -- hope this helps,

<<<-- Originally posted by Tom Neumann : DVC80 lacks XLR connections and there are still issues to deal with on the DVX100. Hoping the new DVX100a resolves this.-->>>

The DVC80 does have two XLR connectors, exactly on the same place as the X100: up front to the right.

Except for the 24p option on the 100, you have the same adjustments on the 80. And they are a lot. More than the ones I had on the M7 I used to work with years ago.

The DVX100 is not a perfect camera, indeed, but if it made such a noise and so many tests are being carried out to see how far it can go, it's because the camera can do quite a lot of things quite well. For such a price.

Being real 24p is certainly one of them.

<<<-- either the DSR250, 300 or 500 looks to be the better models for film and on the Pana side the DVC200 where you have better control. -->>>

The DSR250 is great, and if I am not wrong there's a new DSR290 or something that I tried at a recent equipment show that is even better. It's sized like the 250 but with more improvements.

But we are talking $5,000 or more for the 250 and a lot more for the 300 and 500. The DVX100 you can get for $3,200.

One thing I do not like on the DVC200 is that you can not use small DV cartridges. It's also a $6,000 camera. But it has a detachable lens, which is a good thing.

The 500 is a 16:9 camera, which is great.


Carlos