what to do???

[Matt Burns]

well im very confused right now i have a dvx100b and would like to get a hvx200 not for the HD right now but the DVCpro 50 of it. but on the other hand would i be better of putting a 35mm adaptor on the dvx100b. so my question is which would be better.


-matt

[Mike Schrengohst]

HVX for oh so many reasons.....
Once you edit in DVCPRO HD you will wonder how you ever produced work in DV.

[Matt Burns]

well we will not be using DVCPro HD for the documentary we will be doing. we will be using DVCPro 50.

[Jeff Kilgroe]

Originally Posted by Matt Burns

well we will not be using DVCPro HD for the documentary we will be doing. we will be using DVCPro 50.

Er.... Why not HD? But then again, I second the motion of getting an HVX. The DVCPRO50 SD is far superior to what you get out of the DVX, even with a 35mm adapter.

[Bill Pryor]

The 35mm adapter does nothing to improve quality; it only shortens your depth of field.

If you shoot DVCPRO50 with the HVX, you still need P2 cards and storage, I think. It only records DV25 to tape, doesn't it? My understanding is that DVCPLRO50 takes up more space than 24Pn.

[Matt Burns]

yeah i know it dose nothing for the quality. but which would you look at on a big screen?

[Jon Fairhurst]

It depends on the look you want. Blair Witch? Stick with the DVX. A romance? Shorten your DOF and use diffusion lenses. A prison movie? The HVX with no adapter and no diffusion - make it look hard.

Set your goals, then choose the tools.

[Denis Danatzko]

DVCPRO50 takes up more space than 24Pn. (My opinion is based on reading Barry Green's book, but I'm certainly no expert on the subject).

Originally Posted by Bill Pryor

If you shoot DVCPRO50 with the HVX, you still need P2 cards and storage, I think. It only records DV25 to tape, doesn't it? My understanding is that DVCPLRO50 takes up more space than 24Pn.

True, only DV25 gets written to tape. Anything above that requires P2 cards. However, it does allow donwrezzing to DV within the camera. So, you can shoot whatever you want, recording it to a P2 card, and downres those files from the P2 to DV tape before ingesting to a computer, if you need/want to.

If I understand Barry Green's book correctly, native mode allows for more to be stored on the P2 card, because each frame is stored only once and no duplication of/splitting into fields is stored on the P2 for native mode. That occurs later, after recording, if necessary, when native mode must be converted to something your specific NLE can use, if you need it at all. For example, I don't think Avid HD requires that step, but I'm pretty sure Premier Pro 2.0 does. For that, I have Cineform's Aspect HD, but haven't used it yet for any native recording, so I'm not speaking from direct experience.

As I understand it, 24P and 30P native modes have this limitation:
1) neither works over 1394/firewire, which prevents live streaming to an external HD device, (however, you can create a file(s) on the P2 card and transfer that via 1394).

(Corrections welcome if I'm in error).