In our high school studio we have 3 Panasonic AG-DVX100A camcorders and an SVHS vcr as inputs to a Videonics MXPRODV. (two cameras are connected via firewire, the third camera and vcr via SVHS) Audio from a Mackie mixer is input to the MXPRO's line input #4 and routed as background. The main out of the MXPRO is then sent via firewire to a FireWriter CG and then via firewire to a Panasonic DMR T3040 DVD/hard disk recorder.

The problem we are experiencing is two-fold:

First, even with all equipment turned on, when left idle for a short time, the MXPRO will "drop" one or the other of the firewire inputs and freeze up, necessitating a restart.

Second, about 60% of the time, after performing any transition from one source to another, the audio will "stutter."

The only successful way to make the MXPRO work properly has been to revert to using all analog video inputs. Then it is rock solid.

Before reverting to all analog sources I tried all the following:

Switching cameras, using Sony DCR TRV70’s
Changing the delay setting in audio set up (happens on every setting)
Routing audio of input four to every source
Muting audio of every source but input four
Performing transitions, with different audio routing combinations in both video only and audio follow video modes
Every possible combination of power up sequencing between components
Replacing the MXPRODV with another one from our dealer

Is it possible there is a setting with the DVX 100's regarding the firewire that I need to adjust ?

So, I am open to any and all suggestions, especially if you think I missed something obvious.

Thanks,

Kris Kaufmann
A/V Technology Specialist
North Hills School District
kaufmannk@nhsd.k12.pa.us


__________________
A/V Technology Specialist
North Hills School District
kaufmannk@nhsd.k12.pa.us

Is there a setup supplement for the DVC 80 available. I would be nice if someone has already discovered the best "Scene Files" settings.

I shot recently a tv commercial on my dvx100p in regular 24p (standard). I obviously worked with the material iin 29.97, and performed no "pulldown" since I didn't shoot in advanced. Creating a quicktime or viewing the commercial in my timeline before compressing for dvd output, i have NO problems with motion. However ... after exporting as an mpeg-2 file and creating a dvd in DSP2 and then viewing it on my 27" Panasonic television, I see some REALLY jerky motion problems that didn't exist in the uncompressed versions of the project. It's not just a subtle 24p strobing deal. it's obnoxious in one particular scene. Should I use innobits compressor instead ? Does the FCP supplied mpeg-2 compressor do this to all video shot in 24p (regular or advanced) mode ?

* I did put this in the FCP forum, but want the dvx100 gurus on here to see the question also since you guys edit 24p the most.

Many thanks for any help or advice anyone can offer.

For the Europeans here searching for a good purchase without worrying about customs and warranty questions, I would like to recommend www.stoneheadcut.de in Germany. This is a local dealer in Berlin, biased towards the customer. We just purchased our AG-DVX100AE there and experienced truly good and friendly service. Furthermore, their price is excellent for a genuine European DVX with two years of Panasonic Broadcast warranty. It is 3950,- Euro at the moment, including VAT, or 3405,- Euro without VAT, which is the same charged by our usual suspects in Singapore without warranty, if you add the 4,9 percent duty fee for digital camcorders. You may contact them via e-mail info@stonehead.de and by phone 0049-30-8512992 or facsimile 0049-30-8516421. However, due to a high demand here in Europe which made us wait three weeks for the camera, a sales price increase of 3 percent ist expected within the next weeks.

Stay tuned for my examinations of the PAL version.

Any good reviews or screen caps from the DVC30 out there? And no.. I don't count the one from camcorderinfo.com as a "review".. is there nothing out there yet?

n/a

Hmm..no answers, so took it down now..

using avid 3.5 and avid sets to generic but would one of the panny settings work better with the dvc80?

Hello,

I am in the middle of buying a DVX-100A, Sanken CS-1 short shotgun and the recommended K-tek k-ssm shockmount. I am going to be using this on-camera for the most part and would like to mount the shockmount in the mic mount to keep the other (hotshoe-type) mount free for possible on-camera lights.

At B & H (where I'm getting the camera from) you can get the item... "K-BWC a 3/8" Threaded Camera Microphone Ring Adapter for Canon and Sony Cameras".

Is this what I would need to achieve the aforementioned setup? Is anyone using these parts together with the DVX?

Thanks,
Charles Smith

can anyone recommend a high quality on camera light. nothing too fancy or big and a dimmer would be nice. I'm filming street performers at night.

Hello guys,
We received a few calls from the DVX100 users looking for a 12V DC adapter. We currently make one that was designed to be used with the XL1/GL1 camera, but it can be configured to be used to power the DVX100/DVC80 cams. http://dolgin.net/DCConverter.htm
Is it something that can be usefull to have for the long shoots, when plenty of reserve power is needed?
TIA

i just got my dvx100 today, and when i go to record all i see is a flashing text saying " EXTERNAL DV DISCONNECT" , anyone ever had this problem, or know why it wont record? please help me out ASAP. thanks

DVC-30 for europe set & US (NTSC)

DVC-32 for (Asia pal system)

hope this will help

Thank

I've read in recent posts that the century .6x converter has a problem with vignetting when using a matte box. I was just wondering if the .7x converter has the same problem.

You've spent all your money on a new camera and some other gear and then you realize that you forgot to budget for filter$. You figure that you can afford to buy one new filter per month for four months. After that, your wife is very likely to dump you.

Your work is 1/3 exteriors and 2/3 fairly well lit interiors. Which four filters do you buy, and in what order of priority?

(The above scenario is entirely fictitious and does not refer to any person, living or dead, especially not me.)

I try to do my wide shots on as long a lens as the location will allow

what does "as long a lens " mean>

Feel free to move this if it's not appropriate here. I'm a newbie with a DVX-100a and have been doing some paid video work since I got the cam.

I'm now about to shoot a hip-hop video in a nightclub, and am looking for tips before I begin, so I dont shoot myself in the foot.

Specifically would love any advice on lighting (right now don't have a light kit - is there a cheap one, or preferably can the DVX cope just with nightclub lighting so I don't have to buy one?)

Secondly, what settings would be good on the DVX for this kind of gig? I've become quite comfy with 24p (realize you can't do fast motion with it), and the Cinegamma settings, but I'd love any advice from anyone who has done this, or even if you haven't just on general shooting tips. 30p? Looking for a film look, and plan to edit in AE and FCP afterwards.

seeking reliable information regarding the lux rating of the ag dvx100a at 0db gain. Anyone have reliable specs/experience?

Also, will the ag dvx100a slave timecode to a "b" camera from the "a" camera or from a smart slate? I don't see any tc in or out ports, and there are not any references in the dvx100 operators manual. Is there possibly a firewire import proceedure?

Thanks.

S.

Which Rycote MiniWindjammer fits the DVX100 built-in stereo microphone??

I want to learn more about the DVX 100a's close up range and performance. I do insect videos, and I like to get as close as possible at wide angle.

Can someone tell me the smallest object with which I can fill a 4:3 frame at the widest angle without an adapter? I'd also like to know the size of an object that would fill a frame at full 10X from 20" away.

Any discussion of close ups in the field would be great.

I am getting a loud intermittent buzzing sound when trying to convert some old 8mm video to DV. The buzz drowns everything out and lasts for a second or two and occurs every few minutes. When it happens I can sometimes see something funny going on in a narrow strip at the bottom or top of the preview, although the bottom strip is a defect that is there much of the time, depending on the tape. I don't believe I hear the buzz when viewing the tape on a TV but if this is a critical issue I can test.

Setup: Source tape in Sony deck or camcorder - buzzing happens in same place regardless of source hardware. A-D conversion with passthrough in DVX100A. Capture either to fast Pentium 4 running XP Pro, Premiere Pro and onboard firewire or slower Athlon system running XP Pro, Ulead Video Studio 7 and quality Firewire add-in card.

I asked about this in Now Hear This and received a suggestion that it might be too hot audio. I can't see a way to attenuate the audio presented through the RCA jacks.

I made a sample so you can hear what this sounds like:

(647K)
http://www.sharemation.com/dvwannabe/DV/AnalogCapBuzz.wav

Here is what it looks like:
(27K)
http://www.sharemation.com/dvwannabe/DV/AnalogCapBuzz.jpg

I'm a newbie. Any suggestions greatly appreciated including how to work around if nothing can be done to eliminate or diminish the capture of the buzz.

Frame Rate Recommendations

I am getting ready to shoot a new movie that is technical in nature. It’s a how to movie that involves close ups of a lot of equipment, screen shots-but also a lot of talking head shots. I want it to be artsy but am most concerned with clear images and good color.

I did another movie kind of like this and did it all in 30p. I did it because the end product is a DVD and will be seen just as much on computer monitors as on NTSC screens. I was told 30p was the only way to eliminate banding.

Any tips welcome, I am looking to make this movie better in general than the last one and of good quality on as many different type of monitors as possible.

Ok my question is, I am editing an indy music video in 24p standard mode from the dvx100, my project is setupas 23.97 and I want to preview in external monitor, however I am not all to sure about the Sync offset frames etc. in the preferences / video device. The default is 4 but when I use 5 it looks better, What SHOULD I be using? all this frame rate stuff is really confusing? thank god for dvinfo huh? thanks to anyone who replys :)

I've just started shooting the documentary of Jazz music. It's one men crew; the most the time, I'll be prepare for shoot anytime that means I have to depend on "on board microphone" and easy set ups.
Do you have any suggestion for this kind of situation?
I need good microphone for music recording.
please help.
I have MKH416T but I need transfermer box and won't fit DVX's microphone mount (416T is too thin and I have to tape up to secure the microphone).

I was wondering if anyone had experienced buying a DVX100 in China ?

China adheres to the PAL standard and the camera therefore does 25P like in Europe.

It is sold under the name Matsushita AG-DVC180MC, but everything else seems identical to the European version... except for the price, since it sells for approx. 2300 Euros, which is about half the price you'd pay in Europe.

My main concern is with the menus. I wonder if they can be shown in English...

Any chinese DVi or DVx users around ? :-)

http://babelfish.altavista.com/babelfish/trurl_pagecontent?lp=zh_en&url=http%3a%2f%2fwww.e2000.com.cn%2fcic%2fnews%2fproduct_viv.asp%3fcode%3dSM020220

I will be ordering this camera... what is your guys estimation as to when it will actually be available since it is now up on the official site? News release said September but is there any chance it is early since it is now up on the site? please say yes...

http://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=71697&catGroupId=14571&modelNo=AG-DVC60&surfModel=AG-DVC60

I filmed something on the 25p mode with my AG-DVX100. Now I want to capture it with Final Cut Pro at 25p mode. I do not know how and can't find the right setting.
Can someone please help me?

Bas

For anyone interested on the settings to use with the steadycam jr lite( no monitor) I have posted some settings across in the support your camera post.

I am having some issues capturing footage from the AG-DVX100P into Final Cut Pro HD.....and I need help...

The footage is 24p Standard and the time code is Free Running. I notice many times after capturing that the footage duration in the FCP browser window is incorrect even though the capture scratch has the full clip.
I have set the device control to non drop frame time code.

Are there any other camera/final cut settings that may affect this?

Using the DVX should i set any pre/post roll delay settings in the capture settings? (default is 3 seconds) I find that i lose the beginnings and ends of clips sometimes...

For free running timecode what should I set the time source tab to in the device control window?

I realize some of this may be Final Cut Pro related but there are some camera questions here to ;-)

Thanks a million in advance....

someone on another forum asked me this and I realized I didnt know the ansewer

"Areyou actually shooting in 30p or 29.97p? as I understand it, the DVX-100 runs 29.97 (30p) and 23.98 (24p)"

I am trying to play/record with several tapes and I keep getting this message. Does anyone know what this means and how to fix it?
Thanks.

Does any company make an eyepiece protector attachment for the DVX100? Is there a component made for a 16mm or 35mm motion picture camera which might be adapted for this purpose?

I have heard that on some professional cinematography packages there is a little device which bolts onto the viewfinder and has a spring loaded iris before the eye cup which expands when mild pressure is applied and contracts when lifted. This serves to block out 99% of direct sunlight from a camera's sensitive viewfinder monitor in a very easy way.

Has anyone seen where I can buy it? :)

Hello there,

I got a DVC80 and a DVC60, i work with the same external mic in the 80 and in the 60 (it is a Shure SM58) using the XLR inputs

Wheni use it in the DVC80 it works just fine and the audio is pretty clear, but i the DVC60 i get a BUZZ sound that have ruined my bussiness and i spent hours correcting the audio.

Anyone also have this problem ??

Any help could help.. thanks.

Anyone know of (or used) a housing compatible for the dvc30?

For those of you attending the 2005 SXSW Film Festival (http://2005.sxsw.com/film/festival/screenings/film/1979.html) in Austin, TX this week, this Friday is the last opportunity to see the Feature Film, Four Eyed Monsters (www.foureyedmonsters.com). Four Eyed Monsters (www.imdb.com/title/tt0439182/combined) premiered in competition at the 2005 Slamdance Film Festival (http://slamdance.com/2005/festival/film_detail.asp?film_id=585), and made its regional premiere last week at the 2005 SXSW Film Festival (http://2005.sxsw.com/film/festival/screenings/film/1979.html).

Shot on a DVX100 with an anamorphic lens, a DVX100A, and a Sony TRV900, the film blends a narrative story with documentary elements and animation to create a very unique film.

The last screening at SXSW (http://2005.sxsw.com/film/festival/screenings/film/1979.html) will be this Friday, March 18th at 4:30 P.M. at the Alamo S. Lamar theater.

You can read the Film Threat Review here (www.filmthreat.com/Reviews.asp?Id=7127).

I'd love to hear feedback from anyone who gets a chance to see the film.

Anyone know where I can get the pinout connections for this 5" CRT?

the connector has 8 pins in a circle

ok I have the DVX100, want to use the 25p, what are the best settings on the camera for this, and also want to edit in premiere 1.5, what are the best settings for this, digitising etc, and finally wil drop to DV for vdeo projecting...best setting anyone..I'm really confused after reading all the posts so far..please assist

Hello!

As promised, I will start with the praise:

I have been reading the board for just about 2 months, during these I've just started to dip into all the knowledge, wisdom, practical tips and tricks present on your wonderful board -> hopefully it will be "our" wounderful board one day... (just getting a little carried away..).

I pretty much based all of my equipment decision on opinions present on this board, so I've come to the following conclusions...

DVC-30
AT-897
Manfrotto 351B Legs (this is the German expression...) + the Manfrotto 503 head
+ some filters, the XLR Port and a microphone "Rycotelike" Softie from a German company.

+ as you have probably heard a lot already there is a distinct mood/atmosphere on the board that can't just be due to the usage of full names. You all are very, very civilised, not to say exceptionally polite in interacting with each other.

I bought the accesoires from B&H, the camera from globelmediapro.com, who seem to also be worthy of support. B&H unfortunately didn't carry the cam in PAL at the moment. Right now the camera is on its way to a friend of mine in the US, who will be picking it up soon in order to get it to me in Germany on a safe way through customs.

I wouldn't have gone through the trouble if I had the funds available to buy the camera in Germany.. now, as all of you can imagine, I wouldn't have wanted to spend money in Germany knowing at the same time, that for a little more time and nerves I would have gotten a completely different and bigger and better result :) .

Thank you once more, I'm sure you will see me again these weeks...

Have a good day!

Greetings from Germany,

Matthias Zimmermann

PS: Matthias Zimmermann is not available any more, that's why I am M. Zimmermann

PPS: You might be able to visit my homepage and give me some feedback about it, it is in english, but still expanding!

www.mattzi.de

I had the feeling watching this movie the way people talk about how everyone who saw the Velvet Underground started a band. It was a really good doc, but the amazing thing to report here was that DVX blown up on on 35mm, projected on the biggest screen at the SF Film Festival. I thought maybe I had heard wrong, and it was actually shot on 16mm or HD, and went up to ask the filmmakers afterwards to make sure. I was nervous, cause we'd just bought a DVX for our doc, and was afraid I'd see the same old video-ness. It was, quite simply, mind-boggling. The different looks they got out of it, the clean-ness of the images...I even liked it better than some HD I've seen on 35mm.

Everything changes when you can make things beautiful on MiniDV.

Arne

Anyone out there live in the Harrisburg, PA area and own a DVC30?
I was looking for a semipro/hobbyst in my area to talk about the possibility of helping each other out from time to time on multicamera shoots...

kevin spahr

Does anyone have DVC30 frame grabs and moving footage? Also I see that it has CineGamma installed in the firmware, can anyone provide which settings it has in comparison to a dvx100a?

Are there any focal length multipliers that work well with the 100A besides the Century Optics version? I could really use one but $850 at B&H is out of my price range.

I've found other 1.6x (or so) multipliers, but they won't work on the 100A because the lens is too big.

Thanks,
Dan

Ok, it's wrong forum, but anyone know where to go for info on how to edit 480p from Panasonic aj900 wap. No one at Panasonic booth at NAB knew.

Nevermind found it in the "search" pages

Barry Green's DVD and book on the DVX 100 seems very popular on this forum. Is there an equivalent book/DVD for the DVC30? If not, how much of the DVX Book and DVD would be useful for a DVC30 operator? Thanks in advance.

PEACE
Steve

Hi everyone,

I've got some footage shot with a DVX100 in standard 24P mode. I need to bring it into BOUJOU to move-match and I'm a little uncertain of the settings. Should I take it from the camera into a NLE that can preserve the progressive frames and save as TGA files that I then take into BOUJOU as 24 fps footage? If I capture the footage into Premiere Pro 1.5 does it remove the pull-down or is it something I need to do elsewhere?

I have the footage captured on a Mac using FCP4.0 HD and those clips are QuickTime files. I have no idea what settings to use if I bring those quicktime clips into BOUJOU. In short, I'm totally confused as to what I have and would just as soon start from scratch and do it right rather than end up with cruddy interface artifacts.

By the way, the intended use of the footage is going to be VIDEO so it's eventually going to be played 29.97 and will have to have pull-down at some point. My understanding is that the VX100 does the pull-down for you when you capture it but that some NLE's can remove it and give you a 24P pipeline that should allow me to work with progressive frames -- but I'm really not sure how to go about this.

Hope this isn't too rambling a question.

Mark

I've looked around a lot for a thread like this, but didn't find one. Sorry if this already exists.

Could people please post pics of their DVX100 or DVX100A setups? Just an interest of mine. Thanks a lot,

~Clint Grant~

P.S. (I'd post a picture myself, if I had a DVX...........)

G'day
When i bought my dvx100 there was no external mic holder. dose anyone know where to ge a replacement one? or what is best was to attach an external mic to the camera?

thanks

hey all..
its been a while since ive chromakeyed using the DVX.. so im going to run some tests to see what will work and what wont..

Now ive changed my settings to crush blacks and mute the red tones a bit to give more of a natural skin tone as opposed to the red warmth which is so horrid (to my weyes anyway)

Ive also lowered the detail a lil bit as i really do hate that supersharp video look..

BUT.. the question befalling me now is what woudl be the ideal configuration for a green screen shoot??

Heres a run down of the lighing im using -
Lowel Tota with diffusion brella (awesome unit and softens shadows so nicely... bit bright though at 800w)
Sachler Reporter75 on a stand used as a key light
and another Sachler for a backlight.. but im not too sure if this is a good way to do it though.. but this is what i did in the past and results were ok if a bit cardboard cutout-ish.. but i think that was from the backlight..

In the past i just used the same configs mention above on the camera, but i just dulled down the chroma phase and ran a CineGamma matrix (as oppsed to flurou or norma) to level out the dynamic range and its worked out ok...

Now this was back when the DVX first model was out.. and since the 100a, there are afew extra configs in the scene file which arent in the Original release, like detail coring, and afew new cinegamma settings etc

Does anyone know of a good Chromakey scene setting for the 100 or the 100a???
Ive got both models, so calibrating the cameras can sometimes give me the shits due to the gamma and detailing differences....

i havent tried out my new screen yet, but its not your normal satinish/felt kinda green.. its more of a fibreglass type of plastic nylon weave.. it was given to me so im not too phased about its make, but its so huge, i have to try it out.. and i didnt pay for it so that helps too...

any ideas are greatly appreciated!

I need to pull cable from our DVX's to monitors. Has anyone tried with a 50-foot cable? Does the signal carry?