http://i2.photobucket.com/albums/y22/zimvg/unknown.jpg

Here is another one of Laurence's A1U:
http://i2.photobucket.com/albums/y22/zimvg/unknown-1.jpg

and a light for the A1U

It looks good.

http://i2.photobucket.com/albums/y22/zimvg/light.jpg

I like the right-angle XLR and the diffuser over the 20DW2. I also duffuse mine, with a velcro attached Lumiquest Mini Soft Box.

Nice!

But...I've lost track of the earlier thread on this. Could someone provide a quick list of the various components?

What you see in the picture is the following:

1) Spiderbrace 2:
http://spiderbrace.com/othermodels.html

2) Tripod adapter for easy changing of tapes:
http://cgi.ebay.com/Tripod-adapter-for-Sony-HDV-HDR-HC1-HVR-A1_W0QQitemZ7579201115QQcategoryZ30091QQssPageNameZWDVWQQrdZ1QQcmdZViewItem

3) Shoe mount for mounting wireless receiver to the Spiderbrace:
http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=250400&is=REG

4) Sony VCL-HG0737Y wide angle lens:
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=396837&is=REG

5) Century Optics sunshade:
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=274303&is=REG

another option is the LH80 M/P from cavision.com
http://www.cavision.com/lenshoods/LH80.htm

6) 82mm UV filter (instead of a lens cap)
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=23722&is=REG&addedTroughType=search

7) Stepdown ring from www.cavision.com
Ask for the one to step down from their LH80 M/P lens hood to a Sony VCL-HG0737Y wide angle lens. The Cavision LH80 M/P also has an internal diameter of 80mm.

8) Varizoom lanc controller:

I bought this one:
http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=279113&is=REG

but this would be a better choice since the extra controls don't function anyway with the HVR-A1:
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=240135&is=REG&addedTroughType=search

9) Sony HVL-20DMA light
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=367190&is=REG

10) Sto-fen Omni-bounce diffusor
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=89908&is=REG

11) Rode NGT-1 shotgun
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=89908&is=REG

12) Sennheiser Evolution wireless
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=324229&is=REG&addedTroughType=search

13) several Sony M series batteries for the light and the camera
http://www.bhphotovideo.com/bnh/controller/home?O=cart&A=details&Q=&sku=275104&is=REG&addedTroughValue=367190_REG&addedTroughType=accessory_detail

Most excellent - thanks! B&H should send you a box of chocolates... :)

Gotta love that spider brace!

One more picture Laurence sent me I forgot to put up last night. I guess its a picture using the lights?

http://i2.photobucket.com/albums/y22/zimvg/lighting.jpg

Yeah it's a still capture from an interview with two of those cylindrical work lights, one on each side and slightly offset so as to get a key/fill light effect. I got the idea from this link by Walter Graff:

http://www.film-and-video.com/broadcastvideoexamples-30bucks.html

As I look at the my interview frame, what is still missing is light and shadows effect on the back wall (in my frame there is just a little shadow from the subject), and some back-lighting to highlight the subject's hair, but the two fluorescent worklights look fine. I'll probably end up using a flourescent version one of those little floor mounted worklights that carpenters use with some kind of cardboard cutout clipped to it, and I'll also probably end up buying some sort of small pro light that can be aimed and barn-doored as a backlight. I'm not after any kind of general light kit. I want to have exact tools to light a sit-down interview really quickly and well and that's it. Everything else I do is either natural light or natural light augmented by the camera light. I think the two fluorescent lights are pretty darned good though. They were $59 a piece at Home Depot.

I suppose this post is in the territory of "Photon Management" and should be in that forum except that since the A1 is a little lacking in the low light department, it is this camera that is making me expore this subject. One thing I know is that my old camera, a VX2000, was much better in low light and so I just used natural lighting and I always thought it looked fine, but I'm finding that a lit interview with the A1 looks way better, even if it's just lit with inexpensive worklights. Having had this experience, now even if I had a camera that was better in low light I'd still light the interviews.

Awesome setup man. But for the price you spent, you might as well have gotten the Z1. j/k

How did you find the spidebrace 2 to work? Was it really effective? For the price, I would snatch one up right away.

No, a Z1 is still way more money! Plus, I'd still need the Spiderbrace, the new mics, the camera light, the lanc controller, etc. Plus it would be heavier and harder to sneak into places like horse tracks and casinos (which I'm planning to do on an upcomming project).

The Spiderbrace is awesome. I'm not a real fan of tripods but I do like steady footage. I was looking at things like the Merlin and the Fig Rig, but the Merlin isn't practical with lights, wireless recievers and lanc controllers, and the fig rig means supporting all that weight at arms length all day long. The steadistick looked cool too, but how would I use a light and wireless reciever at the same time? Plus, I love the fact that you can set a Spiderbrace rig down!

I find that if you put the Spiderbrace under your arm (chicken winging it) instead of on your shoulder, you can shoot quite comfortably with the screen, and if I apply a little upward pressure so that the shoulder part is pressed up against the inside of my bicep, I can get decent walking shots as well.

The lanc controller gets rid of those little shakes at the beginning and end of shots that I would otherwise have to edit out. A lot of event coverage type jobs pretty much consist of editing out the slop and dragging clips to the timeline. With the lanc on the Spiderbrace, there's a lot less garbage to edit out.

Would I rather have a Z1? Only when it's dark!

Laurence, I know that the Z1 costs way more. I was being sarcastic. :)

Hmmm, I never saw this SpiderBrace device before. Seems like it would really work well. Can you use the brace on your shoulders and still use the LCD confortably? What about the viewfinder? Can it be used at all with the brace on your shoulders? Does the brace allow you to swap tapes without removing the A1? Finally, does the brace have a plate that can be used for easy attachment/detachment?

The SpiderBrace 2 and the mini-rig seem quite similar. What is the point of getting the mini-rig over the SpiderBrace 2?

BTW, I see that the subject on the last picture is wearing a Florida shirt. Are you from Florida? I am from Orlando but going to school in Boston now. I might be coming back to UF next semester; haven't decided yet. :)

Hi,

Why did you go with the Rode mic?
How is the mic that comes with the A1U?

Thanks!

Laurence, I know that the Z1 costs way more. I was being sarcastic. :)

Hmmm, I never saw this SpiderBrace device before. Seems like it would really work well. Can you use the brace on your shoulders and still use the LCD confortably? What about the viewfinder? Can it be used at all with the brace on your shoulders? Does the brace allow you to swap tapes without removing the A1? Finally, does the brace have a plate that can be used for easy attachment/detachment?

The SpiderBrace 2 and the mini-rig seem quite similar. What is the point of getting the mini-rig over the SpiderBrace 2?

BTW, I see that the subject on the last picture is wearing a Florida shirt. Are you from Florida? I am from Orlando but going to school in Boston now. I might be coming back to UF next semester; haven't decided yet. :)

With the Spiderbrace on your shoulder as it was designed to be used, you look through the viewfinder rather than the LCD screen. I can use the LCD screen if I put the shoulder portion under my arm.

I can swap tapes without taking the camera off the Spiderbrace because I have a tripod adapter that allows this (item number 2 on the list). I keep this adapter on the camera all the time. Not only does it allow easier access to changing tapes, but it means I can set the camera down with the larger lens hood and it makes a nice steady base as well.

The Mini-Rig is designed exlcusively for the Canon XL series of cameras and wouldn't be a good match for the A1.

Yeah I live in Florida: in Clermont, just 20 miles or so West of you in Orlando.

Hi,

Why did you go with the Rode mic?
How is the mic that comes with the A1U?

Thanks!

The Rode NTG1 is a great sounding shotgun mic. It is also smaller than most shotguns and fits on a camera well. I use it on shoots that are exlusively outdoors.

The mic that comes with the A1 is an ECM-NV1. This is the standard Sony camera mic that comes with such cameras as the PD-150, PD-170, PDX-10 and is often shown in Z1 literature (though that camera does not come with a shotgun mic). The NV1 is not horrible, but it's not that great a mic either. The pattern isn't that tight, it's almost more of a cardiod than a shotgun, but this is not neccessarily a bad thing on a camera mic. My complaint with the NV1 is that it has no real low end frequency response. I know why they did that: to minimize camera noise without using a better shock mount. I just think that a better mic is a worthwhile investment. After all, as DSE always says: audio is 75% of the picture.

I actually only use the NTG-1 on shoots that are exclusively outdoors. A shotgun mic is really good outdoors, but they really aren't that good indoors. The reason is that a shotgun may sound directional, but it's really not exactly what is going on. The way a shotgun works is by combining audio that comes in to the sides of the mic with the audio that is picked up at the tip out of phase. The result is that audio that is picked up by the sides of the mic and the front of the mic is, for the most part, cancelled out. This works well outdoors where sounds are picked up directly from their points of origin rather than reflections around a room.

Indoors this doesn't work well at all. What happens is the sound is being reflected all around the room and and phase cancelling reflected sound doesn't work because much of it is already out of phase. Instead of directionality, what you get is a wierd boxy sound.

This is why many people (like me) prefer a cardiod indoors. Because it sounds better and, strangely enough, is actually more directional indoors than a shotgun. Some people split the difference and use a hypercardiod. Microphones are rated on a continuum: omni - not directional, cardiod - a little directional, hypercardiod - more directional, shotgun - super directional.

In an ideal world you would use the following: a shotgun outdoors, a hypercardiod indoors in regular environments, a cardiod in highly reflective environments. In mixed environments, I tend to go with the safest option, a regular cardiod.

Which mic is the best? If I was more of a purist, I would go with something like an AT4051 cardiod in the most reflective of environments, an AT4053 in less reflective environments, and a 416 outdoors. I would also only use a windscreen when necessary and then only as much windscreen as I needed. I'm not that much of a purist though and I don't work in an environment where I can pick my next shot.

A Sennheiser ME64 is a great all around camera mic. It is cardiod so it is safe everywhere. It has a strong mid-high frequency presence peak, so it has a high degree of intelligablity even with a heavier fuzzy windscreen. It has good low frequency response, yet isn't bad for handling noise. This is actually the mic I would most recommend as the best all around permanently mounted camera mic.

Why do I have an NTG-1 on in the picture then? I've been doing mostly outdoor work lately and a good shotgun is the best choice outdoors.

Just a side not on the difference between the NTG-1 and ME64 mics. I've done a number of interviews over two days for a current project. For all these interviews, I had a mic on a boom over the talent so I wasn't worried about the camera mic sound. On the first day I used the ME64 as a camera mic and on the second day I switched it with the NTG-1. In neither case is the camera mic destined for the final mix. It was just an experiment.

Here's what I found: the ME64 actually sounded pretty good. It was a little distant and I could hear more room ambience than I like, but it could be used. The NTG-1 sounded awful. It sounded boxy and picked up a whole lot more room noise than the ME64.

If I had done this same interview outside, it would have been quite different. The ME64 would sound decent but the speech would be buried in a wash of the sound of everything going on outside. The NTG-1 would have picked up the speech nicely and rejected all sorts of extraneous noise.

What I would love is a NTG-1 sized mic with a three way switch that gave you cardiod, hypercardiod and shotgun options! If anyone knows of such a thing, please let me know!

For an Alan Barker recommendation of the ME64 as a camera mic, check out the following link:

http://www.alanbarker.com/index.html?body=whyk6.html

Really cool Laurence. Thanks for the information. Nice to hear that the adapter can remain on the entire time. I am definetely getting one of those. Will the adapter work with any tripod as well?

Pete, the reason why he went with the Rode microphone is because it is superior than the one included with the A1U. The microphone that comes with the A1U has been reviewed as mediocre by most experienced users. I find it to be quite amazing, but I am coming from a series of consumer camcorders. The Rode microphones seem to be the best ones out there for the price. If you have the chance, snatch one of them.

Good line Laurence: 'Would I rather have a Z1? Only when it's dark!'.
But what of the other concessions to compactness that the A1 bears - the bottom loading and that awful exposure control adjustment?

The tripod adapter works with any tripod I believe. You can load and unload tape without removing it from the tripod when you use the adapter.

That exposure control isn't so bad. I do wish that the display was a little clearer on how much gain was being used though.

The thing about documentaries is that the medium doesn't have to be transparent like it does in a dramatic work. The illusion isn't shattered because you see a little grain in a night shot. If I was shooting dramatic work, I think I'd be happier with a Z1 or the new Canon where I could (and would) really tweak the shot. For documentaries though, the A1 kicks butt. Run and gun stuff is usually shot in auto mode anyway, and the picture is so much better than what we're used to seeing in this genre. This camera can get in and out of cars and public transportation and is easy to manage in all sorts of situations where nobody is making allowances for a camera being there.

5) Century Optics sunshade:
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=274303&is=REG


Laurence, are you able to use HG0737Y's lens cap with that sunshade?

The tripod adapter works with any tripod I believe. You can load and unload tape without removing it from the tripod when you use the adapter.

I've discovered a few people own incompatible tripods and have made a second (and third) product to help them. I will be posting about it soon in a different thread.

Laurence, are you able to use HG0737Y's lens cap with that sunshade?

No, but the lens hood lets you use an 82mm screw in UV filter to protect the lens instead. I like this better. Actually I'm using a Cavision LH80M/P hood instead now. Just $50 with the adapter ring to make it fit the HG0737Y lens!

http://www.cavision.com/lenshoods/LH80.htm

Hi Laurence, thanks for sharing your A1U rig and insights on accessorizing it. Thanks to Bob for posting pictures for it too!

Just out of curiosity, where'd you get your yellow xlr cable from and how long is it? I'm having a hard time trying to find a source for xlr cables with a male right angle connector in lengths shorter than 1.5'. I suppose I could always make one, but it's been a while since I've picked up the ol' soldering iron so I don't trust my DIY skills. Looking at your cable in the pictures it looks to be about 6" or so?

Congratulations to all of you who had contributed to this thread, specially to Laurence Kingston. In my opinion this is the most interesting thread I've read about the A1.
By the way, Laurence you seem to be the 'guru' of this site concerning the A1. Could you take a look to this thread: http://www.dvinfo.net/conf/showthread.php?t=60555
Perhaps with all your experience you can add something valuable.

We have a pro audio shop called TAI Audio about 20 minutes drive from my house. I often buy stuff there even when it's not the best deal just because it's nice to have a place to actually try stuff out nearby. I got the 6" cable right angled cable there.

http://www.taiaudio.com/catalog/

Yeah, I've been following that link. Six clicks left seems to be the magic "no gain" number. I'm not sure yet how much gain you can really get away with on this camera. It isn't nearly as much as it is with the FX1/Z1, that's for sure.

I'm hardly a guru at this point. I am having fun learning this stuff though. As far as I'm concerned, it's just fun to be part of the "hi def" club for such a small entry fee!

Thanks for sharing the source for your 6" right angled cable Laurence. Yeah I know what you mean about having a local place to try stuff out. Prices are anywhere from 10% - 20% higher than buying online. I feel bad, but I often test drive the gear at the local shop, but end up buying from B&H or Adorama. On top of that the local shop doesn't stock as big of an inventory as the B&H/Adorama. So for something like a 6" cable, it would need to be special ordered

A little trick I picked up over the years...make friends with the employees/owners of the local shops. Ask them if they can pricematch. Most of the time they won't, but will often bring their price down to get your business. I try to support the local economy as much as I can, but if there is a better deal online...you know where my money is going...ie the $500 rebate on the A1U. The rebate was good for contintental US purchases only.

I admire your humility in denying your guru status. If not, a guru then you should be made a moderator of the "kick-ass-super-cool-A1U-setup" forum for DVinfo. :P

Hey, quick question. Honestly, what is the real differences between the A1U and the HC1 besides a bit better color capturing through the lens and the added mic attachment.

Comparison Table of HDR-HC1 and HVR-A1U (http://www.sonyhdvinfo.com/article.php?filename=Comparison-Table-of-HDR-HC1-and-HVR-A1)

This has been discussed a lot in the forum. The search function is our friend. Here's a couple pertinent threads from our board:

HC1 or A1U? (http://www.dvinfo.net/conf/showthread.php?t=61319&highlight=a1u+hc1)

Why Did You go for the A1U over the HC1 (http://www.dvinfo.net/conf/showthread.php?t=51447&highlight=a1u+hc1)

No, but the lens hood lets you use an 82mm screw in UV filter to protect the lens instead. I like this better. Actually I'm using a Cavision LH80M/P hood instead now. Just $50 with the adapter ring to make it fit the HG0737Y lens!

http://www.cavision.com/lenshoods/LH80.htm

Thanks for your great info. I have one quick question ... which UV filter are you using with your Cavision LH80M/P hood?
And for the Varizoom lanc controller what other functions of the A1 we can use with it? Does it have control over the start/stop ?

Thanks for your great info. I have one quick question ... which UV filter are you using with your Cavision LH80M/P hood?
And for the Varizoom lanc controller what other functions of the A1 we can use with it? Does it have control over the start/stop ?

Any 82mm screw on UV filter will work. I believe mine is a Tiffen but I'm not sure. It was left over from an earlier setup with a Century Optics squeeze lens that I had for my old VX2000. I just use the UV filter to protect the Sony wide angle lens. I don't have a lens cap or anything. I clean it with those little premoistened wipes you can buy for cleaning eye glasses.

As far as the lanc controller, most of the extra lanc features don't work with the A1. I was hoping to be able to use the "push to autofocus" feature but it doesn't work, though I've read posts by people with the Manfrotto 521P controller that says that the "push to auto focus" on that one does work. The Manfrotto controller looks a little big physically to me though. The lanc "start/stop" and frame advance controls don't work either. If I was to do it again I'd buy a simpler Varizoom model like this one:

http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=240135&is=REG&addedTroughType=search

or maybe just get one of these:

http://www.bhphotovideo.com/bnh/controller/home?O=WishList.jsp&A=details&Q=&sku=361366&is=REG

I have one of these Cavision LH80M/P hoods for my VX2k's wide angle converter. Must go see if Cavision are up with the times and are producung this hood in the 16:9 aspect ratio now. Anyone know?

tom.

I have one of these Cavision LH80M/P hoods for my VX2k's wide angle converter. Must go see if Cavision are up with the times and are producung this hood in the 16:9 aspect ratio now. Anyone know?

tom.

They haven't changed the LH80M/P but as is it works well with the Sony "Y" wide angle lens. They have a little sliver thin adapter ring that matches the size up with the Sony "Y" lens (the "X" lens is a little smaller around). Just call Cavision and have them send you the adapter for this lens and you'll be set.

They haven't changed the LH80M/P but as is it works well with the Sony "Y" wide angle lens. They have a little sliver thin adapter ring that matches the size up with the Sony "Y" lens (the "X" lens is a little smaller around). Just call Cavision and have them send you the adapter for this lens and you'll be set.

I was looking at the Cavision site and looks like they now have a lens hood specific for the Sony VCL-HG0737Y lens: http://www.cavision.com/lenshoods/LH77.htm

What do you think of this one. No adapter ring needed?

2) Tripod adapter for easy changing of tapes:
http://cgi.ebay.com/Tripod-adapter-for-Sony-HDV-HDR-HC1-HVR-A1_W0QQitemZ7579201115QQcategoryZ30091QQssPageNameZWDVWQQrdZ1QQcmdZViewItem


I just got a question on this. This link is pretty old and probably will expire soon. I have a somewhat more conventional web site, though not with a web store (yet): http://dm-accessories.com/ At least the link won't expire.

I haven't said so before, so I should say it now, that is a very impressive setup you have there, Laurence.

When I went to BH Photo Video (the physical store in New York) a couple days ago, I wanted to get as much of Laurence's setup. I asked for the 82mm UV filter listed in Laurence's list, but the sales rep asked why get a 82mm one when you can just get a 37mm one (for 1/4 for the price). I'm a little confused now as to why I would need the stepup rings and 82mm UV filter. I would like to usethe better lens shade with the UV filter as a protective layer (replacement for lens cap) while also having the Sony wideangle Y lens attached.

The 82mm filter is for the wideangle lens hood (there's no cap for that hood, that's why we need an UV filter to protect the wideangle lens). If you pick the LH80 hood, you will need a step down ring adapter for the wideangle lens, but the good news is Cavision just has a new LH77 hood that doesn't require a step down ring adapter.

When I went to BH Photo Video (the physical store in New York) a couple days ago, I wanted to get as much of Laurence's setup. I asked for the 82mm UV filter listed in Laurence's list, but the sales rep asked why get a 82mm one when you can just get a 37mm one (for 1/4 for the price). I'm a little confused now as to why I would need the stepup rings and 82mm UV filter. I would like to usethe better lens shade with the UV filter as a protective layer (replacement for lens cap) while also having the Sony wideangle Y lens attached.

I just received an email from Cavision. We don't need ring adapter for the new LH77 hood.

I was looking at the Cavision site and looks like they now have a lens hood specific for the Sony VCL-HG0737Y lens: http://www.cavision.com/lenshoods/LH77.htm

What do you think of this one. No adapter ring needed?

Sorry, quick question: so if I get the LH77 lens, which requires no stepdown ring adaptor, what size UV filter will I need to act as a lens cap? Still 82mm?

Edit: Nevermind, I found out I'll still need 82mm.

But new question: there are so many different Hoya 82mm UV filters. What are the differences? They have no multi-coating, multi-coated, and super-multi-coated as well as different grades of UV(0) and not "applicable." The price varies from $43.50 to over $100. What are the advantages and disadvantages, or features, of the coatings and grades? Which one should I get? Does the multi or super multi-coating actually have a discernable difference, or is it more of something on paper (theory) and a marketing ploy?

Laurence, do you mean that the Manfrotto 521P compact controller can allow the A1 to use a push auto focus feature, even if the camera itself doesn't have that feature?

I'm looking at a few lanc controllers (even if not all the functions can work with the A1, but if there is a controller that can allow a push autofocus feature on the A1, that would be great):
Varizoom Rock LE Compact:
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=277446&is=REG&addedTroughType=search

Varizoom Rock Variable Zoom Compact:
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=330007&is=REG&addedTroughType=search

Manfrotto 521Pro Compact:
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=357846&is=REG&addedTroughType=search

I'm not really sure what the differences between the three are. Can anyone explain?

There most certainly is a difference between no coating, coating, multi-coating and super multi-coating Alex. If you genuinely intend to replace your front element with another (i.e. add a UV filter) then make sure it has *the* very best SMC you can buy. The front element of any multi-element lineup is the most important element as far as coatings are concerned.

You'd not have bought your camera if it had a so-so coated front element when the same model alongside it was supplied with the beautiful Zeiss T* coatings.

Let's look at still photographers - they're dealing with focal lengths in the order, say, of 50 mm. A camcorder such as Sony's PDX10 will have a focal length of 3.6 mm to give the same field of view, and it's precisely because we're dealing with these very tiny focal lengths that I say you should beware of fitting filters, any filters.

If you attach a 0.5x wide-angle converter to the PDX10 you're suddenly
working at a focal length of 1.8 mm. Hold your fingertips 1.8 mm (3/32")
apart to appreciate the situation. Depth of field, whatever the aperture
used, will be enormous, often happily extending to cover both sides of any
attached filter.

When a filter is beautifully coated, spotlessly clean and well hooded all is
well. In the real world this is frequently not the case. The 'well hooded'
aspect is the one we all fall down on, simply because although we all use a
beautifully designed, multi-part, shadowed hood it has only been designed to work properly at the wide-angle end of our long 10x zooms.

tom.

Thanks, Tom. So you suggest super multi-coating over multi-coating and no coating. How discernable are the differences in the real, practical world though? Also, when you say well-hooded, do you mean that a LH77 from Cavision used in conjunction with the Sony wideangle Y lens and a good 82mm UV filter won't work well if I zoom in? How would one fix this problem?

Also, what about the grades, such as UV(0)? What does that mean? And why are some of them labeled as non-applicable?

The Lanc controller questions are still unanswered as well.

Back to basics Alex. For starters you don't need a UV filter. Glass in itself absorbs UV, so adding another element to the element lineup in front of the chip is quite unnecessary.

Now then, you've bought a Sony camera with a 10 x zoom lens (I'm guessing
here). This lens most probably has 12 individual elements in the line-up,
with two of them aspherical. All of these elements will be multi coated,
and *the* most important element (from a coating point of view) is the front
one.

It's the best lens Sony can give you at the price. If they thought that adding a $45 UV would improve the performance, they'd have included one. So remember, if you plan to add another element to the line-up of 12 you
already have, make sure it's the very finest you can buy, with the best
super multi-coating on offer.

I have two identical VX2000s, one fitted with an uncoated UV and the other
with no filter. In contrasty light (not into the light, mind) and in 20 seconds flat I can convince any one of you out there to unscrew the UV and skim it out over the lake, never to be seen again. Yes, the differences are easily discernable in the real, practical world, I promise you.

So remember this: filters only take away. So use filters when you must, and
remove them if you want the best picture quality. There are times of 'must', which include dusty or smoky atmospheres, sticky children's parties and so on, but generally I'd say beware of putting anything in front of your lens. A sorry to all those that have read this before.

If you were shooting from a stationary car, you'd instinctively roll down the window, and for good reason.

UV(0) simply means it has no affect on exposure. Skylight filters absorb 1/3 rd of a stop, polarisors 1.5 stops. Lens hoods are only designed to be efficient at wide-angle - as you zoom the hood needs to 'grow longer' to keep efficiency high. Some collapsible Hoya hoods allow you to extend them for telephoto work - a very good idea.

I use a Zoe controller, and love it.

tom.

Thanks again for all the info, Tom, but because I am a newcomer, I have elementary questions. If a UV filter is not necessary, how come they make UV filters at all? What are the differences between a Skylight filter and a UV filter?

How does the Zoe controller compare to the other three I listed above?
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=272712&is=REG&addedTroughType=search

I guess some of the functions I would really like to have work with the A1 are:
zoom in/out (preferable with throttle setting available) (Varizoom rocker style over the stick kind found on the Varizoom Stealth models)
start/stop rec
data on/off
push auto focus
focus

and F-/F+ (even if it doens't work with A1)

Keep asking the questions Alex.
UV filters are sold because there's a demand for them. Uncoated filters are sold because people are unaware of the image degredation they cause and because they're cheap. UV filters are great mechanical insurance protection for when you're in a sand storm, filming in the surf, down at the level of the inquisitive sticky-fingered kids. When you're in clean air you don't need them, though some people still like the 'peace of mind' even at the expense of image flare.

A skylight filter is very slightly pink, though no two are the same shade of pink, so a Tiffen will look different from a Hoya or a B & W. That's the maker's name, not black and white, BTW. Skylight filters were popular in the days of Ektachrome slide film, where you got back and projected what you shot. So to warm that 'cold' film, permanent skylight filters were very popular. And as I've explained, using them on 35 mm cameras has a far less degrading effect than on tiny chipped video cameras.

I tested the Steath and the Rock for a British magazine and found them both faulty, then received a lot of verbal from the firm's MD for daring to say so in print. My editor also received the same sort of abuse. Consequently I can't hand on heart recommend them, though my 'prototype testing' for the firm may well have got the problem sorted.

tom.

I just received an email from Cavision. We don't need ring adapter for the new LH77 hood.

That is too cool! Yeah, that is the one to get.

Tom, what did you find faulty about the Varizoom Rock and Stealth Lanc controllers? And does the Zoe controller you have allow for the functions I listed?

Also, if you're using a filter as protection against nature's elements or sticky children, wouldn't the filter itself become messed up, even if your lens stays safe? Which would be confusing to me because the good UV filters cost nearly as much as the Sony wideangle Y lens I would be trying to protect.

Both the Varizoom models put little tiny steps into the slowest zoom, where they jerked forward. They also started zooming all by themselves, with no hands on any buttons. Not good. I tried them on 3 different Sony camcorders with the same result. I'm sure they've fixed the problem now - it appears to be a fault with the display LEDs.

The Zoe might well be for you, but you'd better test it out first.

Yes, your expensive UV can get messed up, but you can wash it under the kitchen tap with a tiny drop of washing up liquid between your fingertips.

tom.

I'm now looking at the Varizoom VZ-Pro-L controller: http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=185452&is=REG&addedTroughType=search

I like this controller because of the separate speed dial, but that it still has a pressure-sensitive rocker confuses me. Isn't the point of a speed dial to eliminate pressure-sensitivity, so that you can get more precise zoom speeds? How would the pressure rocker work in conjunction with the speed dial? If I set the speed dial for a certain speed, but then played around by putting more and then less pressure on the rocker, would the zoom speed be the one I set on the speed dial or the one I told it to do via pressure control?

I would have liked the VZ-Pro-LX more than the VZ-Pro-L, but it doesn't look like BH Photo Video offers those for purchase, nor do they offer the PG series.

Unfortunately, I won't be able to try out any of these controllers (including the Zoe) personally and have to make a purchase in less than 2 days. I was able to try out the Varizoom Rock controllers though, and it didn't seem to have any of the problems you mentioned, but the fact that it is pressure-sensitive still irks me.

Any insight? What I'm looking for are precise zoom speeds without having to worry about my finger accidentally putting more or less pressure on the rocker/switch, auto to manual/manual to auto switching at the push of a button, start/stop recording, and push to auto focus (which I hear is a valuable function, but I still don't really understand the concept, or, what push to auto focus even is/what it does). Things like frame advance/reverse are nice, but I don't think are necessary at all, so it's only a small consideration for me. Same with the data button, not a huge concern.

As far as the UV filters offering protection...even if I washed it, if it obtained scratches, how would washing it in a sink with detergent help? Wouldn't the scratches still be there?

Yes, you bin the UV if it gets scratched and buy another. Cheaper and a lot easier than replacing your front element, believe me. If you've got an HC1 you might find that fitting a UV stops you re-applying the stock lens hood. The A1 is better in that it has a proper hood (it doesn't have to be made smaller simply because there's a pop-up flash gun on board). Lord, the consessions we make to the still shots...

If your cam has a 'push auto' button on the lens barrel then you can be in manual focus, ok. Then you push that little button and the camera drops into the auto focus mode. When you let go of the button it reverts to locked focus. An excellent idea, but most times pushing the button on the cam jiggles the shot, whereas if it's on the LANC remote all should be well.

The Zoe has a speed wheel. You set it to the maximum speed you want your lens to zoom, so if you only wanted a creep zoom you turn the dial and set it. Then - whatever pressure you apply to the rocker, you lens will only creep zoom. Great in stressful situations. All clear now?

tom.