Once and a while we like to "blow our own horn".

In the July/August Issue of HDVideoPro (a new magazine available at Barnes and Noble and other bookstores),
Take One Productions was featured in a 5 page article with photos !

It's about a recent job we did at Latrobe Specialty Steel. This steel mill was a perfect place to test the H1's capabilities.

Take One Productions has been shooting HD video for over 7 years now, but we like to keep on the technological "edge" so our clients can get the most out today's HD advantages. I was amazed to see such a comprehensive article and photos ! Frankly I was blown away !

This new magazine (this is the 2nd issue) is a nice magazine. Easy to read, good information and nice photography. Check it out.

Can anyone see the PDF I've attached to this post ?

I've attempted to post it again...and it say's the pdf file is already associated with the thread...

Chris ????? Any help ? PDF file is only 483k.

Fixed -- should be visible now. Congrats on the piece,

kevin,
How critical you think by having a big shoulder mounted 2/3" camera (e.g hpx500) vs a small 1/3" handheld camera (hvx 200) will make clients think you are more "pro" and thus getting more jobs ?

Isnt great demo reel not enough any more ?

I Have Been In The Tv Game For Close To 30 Years And In That Time Technology Has Changed A Great Deal - But With Clients I Explain The Changes In Technology Have Brought The Size Of Cameras Down - I Have Not Had Any Problems With The H1 And Clients (does Have Matte Box On It) But Smaller Cameras Are Still Seen As "consumer" Cameras - I Think That The H1 Is Probably As Small(in Size) That Is Acceptable At The Moment - But Most Off All, It Is The End Quality That Really Sells The Client - A Good Reel And A Good Understanding Of How A Video Is Produced Will "sell" The Client.....
Remember That The Camera Is Only A Small Part Of The "whole" Process.....

Jason,

I think Greg hit the target. I've been in the biz that long too. The H1 is about as small as you can go without gettting "questions" from the client. (HVX200 users slightly fall into this also)

Quick story...I know an agency that hired a video company to do a shoot with talent on camera. Grip truck showed up...lots of people, dolly, HMI's...flags, teleprompter..etc. The video production company whipped out a small Sony DV camera. Consumer grade.

Now...we all may agree that the camera is going to make fine pictures...but there is an old saying... "perception is reality". Needless to say the client was quite concerned about a "home camcorder" being used for this shoot. If you were spending all that money on support hardware...wouldn't you be concerned ?

Now...if that's how the company was going to proceed with the production..then it's their fault for not telling the client ahead of time the level of video gear they're bringing to the job.


What I've been seeing in our area is how do I distinguish a production with say a CineAlta on the shoot or a H1 ? In the agency game...size still matters to a certain extent. I have a client who still shoots 35mm for spots. They only air on TV...and we can't get them to shoot them in HD 24 to save our butt ! Budget savings wont' even sway them. We're talking $20k of savings ! NOPE. That's how it's done for national tv...big cameras...lots of crew.

So...by adding some "size" to the H1...when we put it beside our SDX-900 or the CineAlta...it "gives the perception of " a professional camera. We all know the quality....but perception on the clients side is a difficult thing to break.

Heck...even our DVX100A has a matte box, rods, follow focus..etc to help give it the "perception" of a "larger" camera.

As technology continues to move on....this will continue to get smaller and smaller....and then...maybe...clients will relax a bit....but in my opinion...right now, I find that I must still show a "sizeable" camcorder.

You also hit upon the demo reel. I agree. A demo reel is certainly what a client will hire you on, plus your professionalism...etc. But I believe there is an EXPECTATION on their part, whether it's right or wrong, about how the location equipment will look.

Anyhow...didn't want to make this thread about "size" :) But we got lucky to get a nice bit of press in a national magazine about the H1 !

Congrats Kevin!

Thanks for posting.

Thanks Ken...and Thanks Chris for fixing the problem with the PDF.

We got lucky with the "press" for sure.

I just read your article in the magazine ... very cool ...

thanks Michael...appreciate the kind words.

Great article..I just subscribed to this mag....Wow, size does matter.

Thanks Michael..

Yeah...the magazine has a nice mix of articles and "advertisements".

Congratulation on both article and job.
I´m in the process of buyinga camera for a year long documentary and after reading your article I´m pretty sure I´m going for the Canon. I´ve been contemplating the the Sony 350, but not sure it was worth the extra money.

Thanks for the point on the capture problem.

Can you play back tapes on seperate decks if you don´t shoot in 24f, but interlaced?

Thanks Joachim...

Although we have NOT done this...it's my understanding that the Sony HDV decks WILL play HDV shot with the Canon XLH1 in the 60i mode ONLY.

24f or 30f will not play (including the PAL equivelents).

I will also suggest this:

The H1 is a great camera. If you have the time to set shots, exposure, etc...it's my opinion that spending 25k (plus what ever you spend on the lens which can be easily 10k) on the Sony 350 XDCam HD is a waste of money.

Now. Workflow is an issue with the H1...but those who are editing in FCP...are doing well. I dont' know what they are doing for a master-out...but I'm assuming DVCPro HD probably...since a HDCAM deck is very expensive. For us using the AVID Adrenaline...it's a bit of a problem. We deal with it...but it's not the best way to go.

There is something to be said about a "larger" camera. We are looking the XDCam HD for next year. When you have a 'run and gun' shoot...the H1 can become difficult to work with. Small iris wheel is cumbersome. Camera doesn't balance well for long hand-held shots.

I have had the opportunity to try the new 6x lens and it's great...because you can iris the lens like a regular telephoto lens...without using the iris wheel. IMO...this is huge for doing documentary work. I recommend the 6x immediately...because the focal length on the 20x isn't wide enough. Spend the extra 3k on that lens and you'll be happy you did.

But working with a camera that inheriently has those things (standard lens, iris, zooming...etc.) in it...PLUS larger button and switches...does help in fast moving and fast paced action. I find myself sometimes having to stop to make sure my finger is on the right button or switch with the H1.

Now...if you have time...and a small crew...plus time to check settings...etc...then it's not quite the same issue. I just find that I don't "fly" as quickly with the H1 as I do with any other larger camcorder. And I say this across the board with any of the smaller camcorders. We have a DVX100A...great camera....but sometimes slows you down because of the way you have to iris...etc.

I will say this though...if I had to do "run and gun" assignment EVERY day...I'm not sure I'd pick the H1. It's just too difficult to handle on the shoulder. We use it on a daily basis...but in PRODUCTIONS where we're setting lighting...etc.

If you are picking a camera due to image quality...you can't go wrong with the H1. Even though you're still tape based...you'll get a great image...WITH the option to record to DVCPro HD at 100 mgbs. The Sony 350 DOES have HD-SDI output...but you've paid 20k more for that camera/lens than you will pay for the Canon.

Hope this helps...

Joachim;
It's true that the H1 is very front heavy in the standard configuration. However if you add a large Anton/Bauer battery to the accessory mount the balance becomes very workable. I am currently shooting a sci-fi feature with my H1 and with the added weight in the back it is working really well. We are shooting the entire feature hand held and I'm not regretting using my H1. and the 24f is awesome. Barry

Thanks Kevin and Barry.
Kevin, I agree with you completly on the run and gun issues you brough up regarding the "prosumer" cameras. I never feel quite as confident as when using a full size camera. It´s just to fiddely.

However, this documentary is mostly tripod or dolly shots. the shots will be set up and lit and I don´t think it will be a "stressed" procdution.

Barry, thanks for the input on the balance

My main concerne now is the post.
It will be edited on Avid, that´s what the production house have. I won´t be a problem to lock up thee camera for capture, but I´m not happy about giving them trouble in the post proccess.
I would prefere to shoot progressive, but it´s not crucial.
Any thoughts?

EDIT: Am I correct when I think that they have stopped using that useless iris controller of the XL2, and gone back to a wheel?

EDIT: Am I correct when I think that they have stopped using that useless iris controller of the XL2, and gone back to a wheel?

They have gone back to wheel indeed.....what were they thinking? However after you get used to the iris being back on the barrell of the lens, you will learn to hate the little wheel. It never bothered me before but now that I see how smooth I can work the iris on the 6x lens.....I hate the little wheel. But I have to deal with it.

Joachim,

When you do your post remember....there is no audio coming out of the HD-SDI. Canon did not do that. You must take the RCA's OUT...and convert them to XLR ( or whatever the post house wants)

We use a Convergence Connect box that connects to the H1 via firewire to our Avid Adrenaline.
It combines the HDSDI video and ch. 1 and 2 of audio. The firewire control signal gets converted to RS422 for Avid Control. If you want to capture that way...it work....ok. Not great...but ok. Otherwise...dub all your HDV footage to DVCPro 100 or HDCAM with matching code....then ingest will be a breeze.

Barry..you are right...we too have the Anton Bauer on the back..but with the way the Canon is "off set"...it does make for an unusual hand held experience.

Thanks Kevin. I did not know that.
We will probably shoot tape only.
Guess the old DAT would be the easiest way to go if we decide to go HD-SDI out.

Joachim,

Just a quick update...I just ingested over 4 hours of HDV from the H1...in 24f into our Avid Adrenaline.

We used the Generic deck settings and a 6 second preroll. It worked very well.

http://www.convergent-design.com/

the HD-Connect SI is the box. It's only $800.00 now. I'm not trying to sell anything...but without that box...I'd say we'd be pretty frustrated with the H1 when it comes to 24f in HD. It of course is doing the pulldown into the Avid.

We set a sequence of 1080 59.94 and the footage looks fabulous.

Thanks Kevin.
I´m sorry for my ingnorance when it comes to post-production.
Did you shoot 24f, imported it with the box into a 1080 time line?
Coming from PAL land, is the 59.94 progressive or interlaced.

Thanks.

I found a dealer for the box in Norway, I look into it a bit more. Seems the way to go

That's correct.....shoot 24f HD....then in the AVID Adrenaline HD....
You connect to the Convergent Design box....and it captures a 1080i INTERLACED footage. So you can see the 3 progressive frames and the 2 "junk" frames.

Hi Kevin.
Just a little update. After trying to decide between a JVC 201 and the H1 for some weeks now, the pressure was on as we start shooting on Tuesday.
A friend of mine called to tell me he knew of a H1 exhibition model that was for sale at 20% discount.
That pretty much made the decision for me.
I´ll pick it up on Monday.
The only thing that annoys me with the H1 is the lens. I would have loved the fully manual JVC, hopfully Canon will release a manual HD lens soon.
Unfortunatly there will always be sacrifices in this price range

I´m thinking of getting a H20 to use as a deck sine I´m getting the camera so cheap

PS What tripod do you use with the H1?

Joachim,

Agreed...there are some "sacrafices" when working with a camera of this size and budget range. But I will say...when you realize those issues...the picture is the bottom line...and it produces fabulous images.

I use a Vinten 100 Head with a two stage tripod from Vinten.
The H1 is a heavy camera PLUS...if you begin adding accessories to it: ie: Rods, mattebox, Anton Bauer battery holder on back of camera, wireless mics...etc....the camera starts pushing 18 pounds.

So...you need a tripod head that can hand some weight. We also have a Vinten Pro 6 tripod...(we use it for our Panasonic DVX 100a camcorder. Even though it has mattebox, rods and wireless mic on it...the rig still comes in under 6 lbs...and that head can handle it easily. I tried the H1 on that head one time (without all accessories) and it couldn't handle the weight)

Hope this helps.

Thanks Kevin.
Thanks for the informative answer. I didn´t realize it would be that heavy.
It makes sense to prepare for it adding pounds. I´ve been thinking of a Sachtler 12 or 15. Hopefully the 12 is enough.

12 should do you just fine.....