Advice on gig/camera choice at DVinfo.net

Michael Wisniewski · September 15th, 2004, 01:11 AM

Thanks for any thoughts/advice - I'm a newbie to paying/shooting gigs.

I just got a paying/re-curring gig for a tv show. It entails a lot of run & gun interviews in a variety of environments: homes, clubs, offices, street, etc. with a local celebrity as the talent.

I'm wondering if the DVX100 or XL2 would be up to the task? I know the PD-170 is the best deal for this type of work, especially with B&H's current deal and I'm leaning towards it. But I'm wondering if it's advisable to get the DVX100 or XL2 for the flexibility of the 16:9, progressive or other features?

On a personal note, I would use the 16:9 and progressive in my own personal narrative works, but since this is for business, I'd rather get the best machine for the job.

Note: The producer said he doesn't care what aspect ratio my crew uses - he just cares about the content.

Darko Flajpan · September 15th, 2004, 07:06 AM

I would personally go with PD170 with wide-angle lens. I've worked with PD150+wide and that was pretty o.k. I also worked with DVX100 and felt little less comfortable than PD for that kind of work. Anyway for run&gun I would prefer real shoulder cam, but then comes the budget question...

Jesse Bekas · September 15th, 2004, 01:33 PM

If you're not going to have a lighting crew along with you, the PD170 will give you the best opportunity to get the shot, in case it's in dim lighting...
The DVX100A however is no slouch in the low-light area either, and will let you work on other projects where customers request 24P/30P.

Now I know progressive shooting vs. interlace is a choice in taste for an independent filmmaker, and you should choose the best camera for the job, but many people that hire out for such freelance jobs often request certain features/cameras (because they don't know the all equipments' pros and cons themsleves), and the DVX/XL2 might put you in a better position when you're done with this job, or for weekend work.

Dean Sensui · September 15th, 2004, 07:15 PM

I've worked with both the PD170 and the XL1s.

For ease of handling (focus ring, iris control, seperate knobs and buttons for specific controls) I prefer the XL1s.

For tight spaces I prefer the 170.

The 170's LCD screen is perfectly visible in broad daylight and that's a big plus.

I've also intercut between the two and, after using Final Cut's color correction tools, the difference is hardly noticable.

Dean Sensui
Base Two Productions.

September 15th, 2004, 01:11 AM	#1
Michael Wisniewski Wrangler Join Date: Jul 2002 Location: Makati, Metro Manila Posts: 2,706 Images: 32	Advice on gig/camera choice Thanks for any thoughts/advice - I'm a newbie to paying/shooting gigs. I just got a paying/re-curring gig for a tv show. It entails a lot of run & gun interviews in a variety of environments: homes, clubs, offices, street, etc. with a local celebrity as the talent. I'm wondering if the DVX100 or XL2 would be up to the task? I know the PD-170 is the best deal for this type of work, especially with B&H's current deal and I'm leaning towards it. But I'm wondering if it's advisable to get the DVX100 or XL2 for the flexibility of the 16:9, progressive or other features? On a personal note, I would use the 16:9 and progressive in my own personal narrative works, but since this is for business, I'd rather get the best machine for the job. Note: The producer said he doesn't care what aspect ratio my crew uses - he just cares about the content.

September 15th, 2004, 07:06 AM	#2
Darko Flajpan Regular Crew Join Date: Mar 2004 Location: Bjelovar, Croatia Posts: 153	I would personally go with PD170 with wide-angle lens. I've worked with PD150+wide and that was pretty o.k. I also worked with DVX100 and felt little less comfortable than PD for that kind of work. Anyway for run&gun I would prefer real shoulder cam, but then comes the budget question... __________________ XM2 Sony DXC637P BetaSP

September 15th, 2004, 01:33 PM	#3
Jesse Bekas Major Player Join Date: Mar 2004 Location: Ridgefield Park, New Jersey, USA Posts: 572	If you're not going to have a lighting crew along with you, the PD170 will give you the best opportunity to get the shot, in case it's in dim lighting... The DVX100A however is no slouch in the low-light area either, and will let you work on other projects where customers request 24P/30P. Now I know progressive shooting vs. interlace is a choice in taste for an independent filmmaker, and you should choose the best camera for the job, but many people that hire out for such freelance jobs often request certain features/cameras (because they don't know the all equipments' pros and cons themsleves), and the DVX/XL2 might put you in a better position when you're done with this job, or for weekend work.

September 15th, 2004, 07:15 PM	#4
Dean Sensui Inner Circle Join Date: Oct 2001 Location: Honolulu, HI Posts: 2,054	I've worked with both the PD170 and the XL1s. For ease of handling (focus ring, iris control, seperate knobs and buttons for specific controls) I prefer the XL1s. For tight spaces I prefer the 170. The 170's LCD screen is perfectly visible in broad daylight and that's a big plus. I've also intercut between the two and, after using Final Cut's color correction tools, the difference is hardly noticable. Dean Sensui Base Two Productions.