I did some tests in February which included the GL2 alongside several other cameras, as discussed at the URL below:

http://www.videomem.com/camera_compa...-15/index.html

All things considered I'd say the GL2 did okay for SD output, but it doesn't hold up very well once you start talking about HD resolution delivery.

Thanks Kevin

Just got the new DV Magazine, and saw they also had a shootout with the 4 top HDV cams. Even Shannon Rawls got an honorable-ish mention.

If you "got the article today" then it wasn't an article about the Texas shootout. You probably saw Adam's article about a test done in January. That test was controversial and was done during a single day. The Texas Shootout was conceived after that as a multi-day event where more in-depth testing could be done.

The only person at the Texas Shootout with any affiliation with DV Magazine was Adam Wilt, and I don't think you'll find any bias on his part whatsoever. Look for another article in DV Magazine about the Texas Shootout later.

I thought it was a decent article, and was not biased... really. They overall fav turned out to be the XL-H1, big surprise there, but they did say that all the cameras were very close in overall image quality, even shooting next to a cine-alta. It does seem like they were using one of the early models of the JVC HD100, and it was buggy. How did it compare in your shootout Chris?

Yes, that article was the one from the earlier shootout and is also on dv.com.

This one sounds much more unbiased and I look forward to the results. However, as much as we geeks love this stuff, we have to remember that NONE of these cameras is going wreck a great story shot well with good actors...not even the JVC. :-) I like Mike's take and it sure is telling that he said you'd have to often look at the label to see which camera was which.

Kevin

I think a number of us had that impression. All 6 cameras were connected to G5 capture stations driving HD monitors, but they weren't in the same order as the cameras. Each monitor was labeled with gaffer's tape. Looking down the line it was striking just how similar the images looked on each monitor. We had to keep looking at the labels to make sure which was which.

I look forward to the post-production tests, as this is where the HDV codec comes into play with different cameras as well as the P2, DVCProHD, etc.

Thanks!

Kevin

Boyd- what was the deal with the failed firewire on the z1?

Just out of curiosity, will you also do a round up of the decks that are supposed to work with these cams?

Keith, we didn't use a single VTR on this gig, but a general comparison article is definitely in order. I'll put that on the short list.

That would be great Chris. It would be nice to know what the issues are with them.

Kurth, all I know about it is what I read in Mike Curtis' blog here (see the Tuesday April 11 entry): http://www.hdforindies.com/

We never touched the firewire port on the Z1, or any of the other cameras for that matter, during the shootout. All 6 cameras were directly connected to 6 Mac capture stations via either component or SDI interfaces. We ran into one snag during the tests when Adam wanted the Z1 in 50i mode. After rebooting the camera in 50i we couldn't sync the image on the Mac, and after messing around Mike realized that the BOB for the Mac we were using was NTSC only. To avoid re-wiring everything we just rolled tape on those tests with no direct capture. But later in the afternoon Mike re-wired the Z1 to a different BOB/Mac and then we were able to capture both 50i and 60i.

However I don't think any of this could have affected the firewire port. My guess would be that the camera was damaged before we ever used it.

The firewire port on the FX-1 my office used to have was cantankerous. The plug had to be angled just so (pulled out from the body a 1/4") for the connection to work...it seemed likely there was a bad solder joint behind the jack.

More updates about the Shootout from Mike Curtis and his side of things:

http://www.hdforindies.com/2006/04/t...pdate-and-post