identical.

If you're talking about standard-def material, you can import that directly and use the "file format properties" option to remove the pulldown, leaving 24 distinct frames. Still doesn't look like 24p, it has the odd jerky 1/3 - 2/3 motion signature of CF24, but you can edit it as 24 distinct frames.

Your frameserving idea would probably allow doing so for the high-def material (Vegas currently doesn't allow removing pulldown from HD material as far as I know). The motion signature will still be off, but I think it would indeed let you access the individual frames.

Looking for probable 3-day to 1-week rental in Maryland, June 6-10.

Anyone have one around here?

Thanks in advance.

Actually I found a place now -

FWIW:
Video Equipment Rentals (http://www.verrents.com/washington_dc.php)

I posted this in another thread and it got burried in other issues so I decided to make my own thread.

Quick Question for those in the know. I've been messing around with just about eveything inside and outside this camera and I have also grown to love CF30. Here's my question:

Is there a drawback to using the cam without CF30 but with the shutter speed set to 30?

To me it looks even better(motion wise) and it looks the same (image qual wise) but the huge advantage gained is that you get twice as much light. For me this is great because the only thing I don't like about my FX1 is how much light it needs. I know that using CF30 can end up costing you vertical resolution so I assume the same is true with a shuttle speed of 30, can anyone verify this?

Thanks in advance,
Eric James

As I understand it, a 1/30th shutter speed reduces resolution by 1/2. I do not know whether that means half of the CCD (520 as CF 30 supposedly provides) or half of the resolving power (I've been told that the Z1 only resolves 750-800 lines due to "twitter" and odd things I don't understand about the interlaced format)

It LOOKS to me like it provides one clean field (520 lines, thus giving 520x1440 progressive and twice the light with a nice motion blur) but that just my opinion from looking at it in the store ( I don't own one) I tried just about every option though, and the 1/30th shutter was by far the best.

I just wonder how it transfers to film at 24 frames? Seems like the 1/25th shutter would be better suited... but does that give too much motion blur? (They didn't have a Z1 in the store)

Jeff

Has anyone compared the HDV -> SD 4:3 center-cut output and native 4:3 DV recording? Is this setting only on the analog outputs or does it apply to the HDV>DV 1394 output as well?

Hey all,

Do you think this software would help with our motion sickness?

http://www.istabilize.de/index.html

It "stabilizes" crappy footage and we only need to to stabilize a little. Maybe it'll help with our problem of shooting high motion and getting strobbing?

Will this work on HDV footage ? It is cheap . I posted about 2 months ago if anyone had used it on dv but got no response - I'd love to hear some feedback also. thanks Kurth

Does anyone add a shotgun mic on FX1? What kind of bracket will fit? I do still need the "show adapter" for lights.

Thank you in advanced.

Eric

I might be late on this one, or did someone already mention this comparison test by Walter Graff?

http://www.bluesky-web.com/dv-5-cameras.htm

Intriguing to say the least.

Walter seems a bit biased against HDV though...


Carlos

What sort of service life should we expect from the Z1 before it has to go into the workshop? Do you think there will be a difference to the FX1? Do you have a set number of hours that you schedule check-ups?

Has anyone used something like the Century teleconverter lens on the FX1/Z1 yet, particularly as a portrait lens?

Glancing through the Z1 manual it appears that interval recording is non existant for this camera. All it has is frame record in manual dv/dvcam mode? Has anyone discovered otherwise?

Sheesh..

Hi all,

This month I'm going on a 3 day road trip with my FX1, and am planning to make a (humorous) documentary of it. I have absolutely NO idea what's going to happen, but I was wondering what mode I should shoot it on - CF30 or 60i - so I thought I'd ask for some advice. The final destination of the footage will primarily be the web (DVD as well - but web first).

My suspicion is that CF30 will provide a much easier workflow and retain better resolution from an in-camera down-convert to DV for editing if I don't have HD editing software by then.

I know 60i is theoretically safer for "run and gun" type stuff... but if I have to deinterlace to 30p for the web, I see little point on making the compression work harder. If I could do native editing I'd for sure go this route.

What say you? How do you like your documentaries?

*note: this isn't going to be some "film-look" documentary... this is going to be a "I was there, and see what you missed" kind of thing.

-Steve

Nope, no timelapse. I was bummed about it too. I wonder if they could even really implement the feature, what with the 15 GOP MPEG 2 and all. Chris brought up in an earlier thread that possibly a future upgrade of the Firestore FS-4 could do it, since it has time-lapse functions.

At Creative Video in the UK the Z1 has actually gone up in price by about £150/£200!

I bought from then before the price jump (was in fact on their waiting list, until a week ago).

They are selling so damn well at the moment. Just thought I would reassure those who bought the Z1 that they may have doubted their purchase with the NAB show coming up, but with Sony pushing so many units and countless companies providing EXCELLENT equipment to enhance the filming experience it certainly is seeming the right choice for me.

I have a Z1 but need to buy another camera and was thinking about getting the FX1 and using a SD 302 mixer on it.

I would post this in the audio section but I am only interested in any concerns I should be aware of when using with the FX1.

The 302 mixer has 3 inputs so I can have 2 inputs mix down to one channel and one input on it's own separate channel?

Just making sure I can record to 2 separate channels on the FX1 when using a mixer or XLR adapter.

Any other possible issues I should be aware of?

You can switch the outputs on each channel individually to left, right or center. I don't know too much about the FX1, but the 302 can interface with just about anything. It has software adjustable attenuators 2 db increments going down to -16db and then from -40 db down to -56 db.

I currently shoot with a VX 2000 and will be upgrading shortly. I already own a glidecam 2000. Is it going to be possible to easily use the FX1 or Z1U with my glidecam or do I need to upgrade it as well?

I am looking at purchasing 2 Z1U cameras for a wedding coming up. I would like to know how the camera works in real life situations, not on paper. I don't really need the camera to see in the dark, but would like to know if the camera is capable of a decent picture in HDV at a "typical wedding lighting". I am aware of all the technical parts of HDV, and have the software and tools needed to edit. So my question is, will these camera's do the job and be eye candy to the average person (not the average nitpick video professional found in this forum)?

Jared,
There are quite a few wedding folks using the Z1, and feel it's great. I'm not a wedding shooter, but have shot in some fairly dim areas. With up to about 9dB worth of gain, and even sometimes 12dB worth of gain, the cam will be fine if you need it.
Biggest thing to start with is calibrating the viewscreen just like you would with an NTSC monitor. Be sure you've got a solid image of the shoot prior to starting. Get white balance, and you'll most likely be very happy.

I'm sorry but I have to vent a minor gripe with Sony.

The Z1 is positioned as a professional camera. Define professional as you like, but surely the in-built microphone and the awful AWFUL audio features such as the limiters and noise reduction are as far from professional as you can get.

The headphone jack (which is hidden underneath an unconvincing plastic flap, a long lasting Sony design) imo should have been pointing downwards, much like the firewire out. Just makes sense to me. It is also a cheap looking silver input!

The audio channel readings should be measured in decibels (someone tell me I can change this, or even Sony can offer some sort of software fix!?!).

These are things that would set REALLY set apart the Z1 from the FX1.

Really, the mic is not good enough imo. If you consider yourself to be a pro, this mic is just insufficient to produce audio of a respectable standard. It may work just fine for being on holidays (why oh my you would use this cam for that i do not know) but surely you're gonna want to buy an external mic (AT, Sennheiser, Sanken take your pick). BAD, BAD, BAD!

I can't be bothered to figure out what should go there in place of it, but all I know is that as a feature of the camera it is borderline USELESS!

Let me reiterate however that the Z1, and these criticisms should not devalue the worth to those who have and will buy it. I love it and am constantly impressed by the results it produces.

I just feel that audio is extremely important, equal to visuals, and sure enough people can say "well get a sound recordist and record dual system" but I say that this is besides the point. Sony really messed up with the audio on the PD150. Hiss galore and substandard line inputs. This was their chance to nail it, and they didn't. Why I ask?

There is a new thread with a guy having some issues with his rig...you might want to bang heads with him. It's a recent thread..

Just a FYI really. I have not had a chance to go to my local video reseller to look. While in Fry's, there it was sitting in with the VX2100 and GL-2. One of our sponsors is cheaper (MSRP at Fry's), but I have to hope on a plane to go there ;) Put I got to touch it, hold it, and tell the salesman some of the stuff about it that makes it special. Oh, they have the JVC HDV right next to it.

They've had them for awhile now and charge full price.. as of yesterday they were still $3699.00. And my Fry's didn't even have it hooked up to a monitor, much less a HD monitor. I wonder how many FX-1's Fry's purchased- just to display, and how many they've actually sold. Like you said, the sales person didn't even understand the camera. It's just sitting like any other camera, on a shelf, all beat up. They should have the thing over by the HDTV's, hooked up showing what all it can do.

Sound Devices MM-1: anyone used it with FX1? Results?

hi sean,
i use the camrera frame mode and the color correction on the DaVinci.

best regards
christopher häring

Hi there, DV Community...

Am thinking about getting the Sony FX1 as a second camera as I won't be needing the XLR inputs that the more expensive Z1 provides. What I need to know is will the FX1 provide full resolution (ie: 576 lines for PAL TV format) in standard DV 16:9 mode?

Hi Philip,

Essentially, the answer to your question is yes...

In fact what's happening is:

The camera takes an image at 1440x1080 resolution (this to be precise interpolated from a 960x1080 CCD array) and then resamples it to 720x405 (which is 16:9 at SD resolution) before storing it anamorphically (i.e. vertically stretched) as 720x576 (4:3 SD PAL).

When displayed on a 16:9 PAL monitor it will be unsqueezed to give you 720x405 (although actually both these values will be smaller as a fair amount of this falls outside the action safe area and is not shown on a TV).

So the 16:9 resolution is, finally, only 405 lines - as it must be for PAL (remember PAL is a 4:3 standard), but this is coming from an anamorphic source at 576 lines.

Also, if you wanna get really into it, these pixels are non-square (you will notice that (1440/16)x9 does *not* give you 1080, but rather 810!) meaning that, if converted to square pixels, you would have an effective end ratio of 1920x1080 for your CCD resolution, which would then be scaled down to 720x405 to fit the PAL specifications (although in practice it is actually a 720x576 image with black bars at the top and bottom to fill the spare space).

If what you mean is "Is it true 16x9", then pretty much, yes (you'll get a bit of argument over the pixel shift used to generate the 1440 horizontal pixels from 960 actual CCD pixels, but I think most would agree that's a minor point).

Ultimately, you're going to get as good a 16:9 PAL image from an FX-1 as you will from anything but the very highest end of DVCam cameras, costing many thousands more than the FX-1 (or Z1, for that matter).

Hope that helps!....

this apparently means CF25 and not 50i.

NIiiiiIIiiiiice work!

*smile*

- ShannonRawls.com

The Gearshift plugin from VASST looks like one great plugin for a few bucks.
http://www.vasst.com/gearshift.htm

Hi - I'm hoping someone knows about the DV capabilities of this camera. I'm based in the UK, where thanks to odd tax laws the "DV in" facility of most cameras is disabled at the manufacture stage if they're to be sold in the UK (if a camera can record via DV, its not classed as a camera - its a VTR, and VTR's have import quotas applied. See what we have to put up with here!). This means I need a separate deck to record masters to once edited. Working in both NTSC and PAL this means hiring lots of cameras and decks as required! If I'm right, I could source this camera in the US, which will allow me to shoot in both PAL and NTSC, and record masters back to tape in their respective formats once done. The price of a return ticket to NY or Boston would be about 2 months worth of hire fees, so it's worth while.

Also if anyone knows about masting HD footage back to tape I'd really appreciate and info, or any links, that deal with that.

Both the FX1 and the Z1 are bi-directional DV via Firewire.
I use it as a deck when needed...

Robin

Sound Devices MM-1: anyone used it with FX1? Results?


xlr on fx1? i want more info on this device as well

thanks

This is no great revelation that the RCA plugs on the Sony camera cords are not that great. Because they don't have a split ring to apply tension to the jack, they are often intermittent--- alway gives you a quesy feeling when you are using an external monitor having the video cutting out.

I just replaced the plug with a good quality one, not a big deal. Just cut off the end and soldier a new one. Don't forget the shrink tubing, because the wire is a bit delicate.

Someone should make a cord that is longer (6-10 feet) and of good quality.

http://www.raynox.co.jp/english/video/hdrfx1/index.htm

http://www.digitaletc.com/go/products/Wide_Angle

new 800 USD fisheye adapter for FX1 with something like 3,600 line horizontal resolution

This is low end brand, but some of FX1 lenses appear be high quality. The fisheye may not out yet and 800 USD may be list price.

http://www.don-sara-parsons.com/raynox/cvtu.html

656 USD 0.21x fisheye

270 USD 2.2x tele adapter

I'm a little confused (my typical state of being) about what type of tape stock to use. My understanding is that the miniDVCAM (SonyDigital Master) runs faster (shorter record time), is better quality, and has fewer drop-outs and glitches. The Z1 manual shows MiniDV tape as the stuff to use for SD DV and HDV, and DVCAM for shooting in SD DVCAM mode. Can't I, nay, shouldn't I be using the Sony Digital Master miniDVCAM tape for ALL my HDV work? If so, where's a good place to buy such tape stock (i.e., get good bulk rates).

Cheers!

Andrew Stone

It is not that the miniDVCAM tape itself runs faster. It is the camera when in DVcam mode which runs faster. Put a miniDV tape and put the camera in DVcam modem and that tape will run as fast as if you had a DVcam tape inside.

The manufacturer says to use HDV and Digital Master tape when recording in HDV mode. However, there is a thread in here of people reporting interesting findings when using other types of tapes with the Z1.


I'm a little confused (my typical state of being) about what type of tape stock to use. My understanding is that the miniDVCAM (SonyDigital Master) runs faster (shorter record time), is better quality, and has fewer drop-outs and glitches. The Z1 manual shows MiniDV tape as the stuff to use for SD DV and HDV, and DVCAM for shooting in SD DVCAM mode. Can't I, nay, shouldn't I be using the Sony Digital Master miniDVCAM tape for ALL my HDV work? If so, where's a good place to buy such tape stock (i.e., get good bulk rates).

Cheers!

Andrew Stone

Hello everyone,

I am a proud and happy Z1U owner, but I have two key questions relating to the upcoming Panasonic HVX 200 "24P" HD camera. These questions also relate to the Sony Z1U. That's why I'm posting my questions in this forum:

[1] Does anyone know if the Panasonic 200 will be able to shoot time-lapse or interval recording. This is something I wish the Z1U could do. The Z1U already produces a splendid picture, if only I could shoot time lapse with it.

[2] Does anyone know if the Panasonic 200 has anything like the Z1U's awesome "shot transition feature".

- Nicholas

Time lapse was specifically mentioned, yes, but I don't recall the details of it.

As for shot transition -- I don't think I've heard any talk of that. I would guess it's not on the feature list.

Can you take two AT897's or 815b's, mount them at angle against each other, get excellent stero pickup? How 80 deg. on 897 and 50 deg. on 812b? What would be the proper angles; is there a cameara mount for that? At what piont would they cross each other?

Is there way to get signal from camera to start stop mini disc recorder so 2 additional channels could be added?

What about Sony stereo and 4-channel consumer shotgun microphones that cost 100-150 USD. Are they good? Sometimes need to record stereo and camera mounted stereo shotgun mic would be perfect but I don't want to spend some 700 USD for stero AT model.

Is there way to make 897 record wider pattern, rather than switching mics? Can cover part of microphone and get quality sound but with wider pickup - supercardioid, cardioid, onmidirectional? It would be nice if sleve could be made you would slide on mic and vary pickup pattern this way. If someone has instruments to measure frequency response and directivity this way, it would really nice. I had older Sony consumer shotgun mike once and it had 3 pickups and you could switch from wide to narrow pattern. It had three settings. Maybe someone could hack AT and figure how to switch pickups to get various patterns. Can you get Service Manual for 897?

Is there device to convert uncompressed output of FX/Z1 camera to signal that will be accepted by monitors?

I saw used monitors for graphic computer systems that have 3 BNC input connectors. Ones I saw were used Sony 21" with fixed 60 Hz frequency and 1280xsomething resolution. Would work with Sony HDV camera?

Radek

http://www.vdigi.com/index.php?option=content&task=blogcategory&id=67&Itemid=28

I found this. It was talked before, here. It says 60Hz. Would it work with 1080-50i?

Radek

Where is the best deal on the Z1 now ??? I deceided to buy one !!
Gabor

Since you're in Hungary I'm not sure what the best approach will be.

However we urge everyone to buy from the DVinfo sponsors who make this site possible. In the case of the Z-1 that would be the following:

http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=357486&is=REG

http://www.evsonline.com/merchant2/merchant.mvc?Screen=PROD&Product_Code=HVRZ1U

http://www.zgc.com/zgc.nsf/c7a682995edb4e7585256b4d001ebd57/3f140489c5fe371c85256fcf00641c5a?OpenDocument

http://www.zotzdigital.com/item.php?pid=1476&cid=381

I can't see any other posts listing this very seious problem with the Z1 - perhaps it is just with cameras delivered to Australia!
When operating in PRESET mode (the usual pro mode to put a roll number on the tape) the camera loses 4 frames every time you turn it off! This also occurs when the camera is on and the heads power down after about 3 minutes of non use. It also happens when you have gone to the deck to review something AND after viewing used END SEARCH to reset to the last frame. Going back to camera mode after reviewing footage and using the REC REVIEW feature does not correct the problem either.
The editor said that digitising my 10 rolls in to FCP was a pain as on the first roll alone there were about 30 t/c breaks.
Yes, a way around this is to shoot in REGEN mode - but THE Z1 is supposed to be a professional camera so I expect to be able to use the professional features on it. I've passed this problem on to Sony a few days ago but still have heard nothing back. What's the Sony service like in the States - I hope it's better than head office here.

What whould have been really useful to help understand the FX1/Z1 is two detailed block diagrams. One that includes every physical component, and one that includes the full image aquisition and processing flow. The very limited handbook doesn't include such information. Perhaps we at hdvinfo can assemble such diagrams. I have browsed through Sony's site, but not found anything. Nothing beats experimenting with the camera in the field, but I also need to know details about the inner workings to be able to make smart decisions.

As I understand it there are two information stream bottle necks for this type of camera. A) The ADC. Here some information is lost due to limited resolution of the digital aquisition. B) The mpeg compression for tape storage. Here a lot of information is lost, especially color. Understanding at what stage the various camera settings and effects are applied can help me understand the camera better, and know to what extent I should use them. My approach so far has been to use all camera settings/effects to aquire a result as close as possible to what the final post result should look like, since I want the best possible video before the mpeg crunches off some color information etc. Still I wonder about the following:

1. Gain, how is it applied? I suspect it controls the video amplifiers that sits between the CCD and the ADC, but it could as well control CCD bias current or even (not likely) be a purely digital function applied after the ADC.

2. The sharpness setting, is that a digital "effect" or a tweak of the CCD?

3. Color level, phase and skintone are they all digital effects, or how are they produced?

4. The iris. My feeling when tweaking the iris and looking at it through the lens is that it follows discrete stops. It is also slightly delayed (1/3 sec or so), perhaps for lighting change smoothness. On the other hand I see no technical reason why iris should be discrete, and the fine grain feeling on the iris knob gives a false sense of unlimited number of sub stops. Is it discrete or not? (for practical reasons it doesn't really matter, but I'm curious).

5. Are the lenses treated for UV? (I use a UV filter anyway)

6. Whitebalance must be a digital effect. I cant understand how it would work any other way?

7. How about cinematone, is it digital, or is it an analogue color filter/compressor applied to the CCD output?

Regards
/Björn Morén

Anyone has some info on this Cavison 4x5.65 Matte Box?
http://www.cavision.com/Mattbox/4x5_65.htm
Gabor