Sony Unveils HDR-FX1000 , HVR-Z5J

[Duncan Craig]

Originally Posted by Monday Isa

I know B&H has their review for the US model, but I was directed to this review for the European model.
Review is y Kevin Cook

Sony : HVR-Z5E Reviewed by IoV's Kevin Cook : United Kingdom

That's a fair review, although I still have a few questions about the Z5.

How does the LCD compare to the Z1? It's much higher resolution but it's physically smaller, so is it as easy to use.

The focus and zoom are on servo controlled infinite wheels, is this the same for the iris?

The thread appears to be 72mm according to the Japanese pdfs I've seen, which is great for existing 35mm adaptor users. Can we use the magnet trick to flip the image on the LCD.

Is the headphone output louder than the (very poor) Z1, I know lower impedance headphones can help, but I don't want to replace my trusty Sennheisers.

Can the assignable buttons control the same number of parameters as the Z1, my favourite - white balance shift is not assignable on some new Sony HDV cameras. (I can't remember which, maybe the Z7?)

That's all I can think of at the mo.

Cheers Folks!!

[Michael Liebergot]

Originally Posted by Rick Steele

Going tapeless would be a dream but I'm wondering if the FX1000 will work exclusively with CF only (i.e. not needing the heads recording to an actual tape in order for the MRC1 to work).

Actually Rick, I don't mind having to run tape in the camera in order to use the MRC1 and tapeless acquisition.

The reason being that I would rather have tape for backup/archival footage, and use the CF media for quick download and editing.

I am a paranoid shooter I guess. As I would rather still spend money on tape and have redundancy, than not.

[James J. Lee]

First Post:
This new cam makes it a tough call for me as I was gearing up to purchase a newish used XH-A1. I'm pretty new to this game so I have a couple of questions:
1) How do you think the FX1000 will compare with the Canon XH-A1 re: low light performance?
2) How are you guys overcoming the lack of multiple XLR inputs on these cameras? How cumbersome is it to add an XLR adapter?
I'd prefer to use a decent on camera hyper-card shotgun AND frequently a lav for interviews.
My experience has been in run and gun multi-media web journalism and I'm now doing some corporate work.
As a staff photographer I was using the XH-A1 but now that I'm freelancing I'm using a Canon HV30 and recording/syncing my interviews with an Olympus LS-10 with wired lav. I'd love to get back to the work flow I used to have the the XH-A1 but if the FX1000 is going to be a great low light performer on par with the PD170, I'm tempted to go that route.
Any thoughts?

[Michael Liebergot]

Originally Posted by James J. Lee

1) How do you think the FX1000 will compare with the Canon XH-A1 re: low light performance?

The new Sony's should be better in low light.
But remember that video (like photography) needs light. So for optimal picture quility with any camera, it is recommended to either use onbord, or even better off camera lighting when possible. But if you aren't able to use supplemental lighting of some sort the Sony cams should be more sensitive than the Canons.

Originally Posted by James J. Lee

2) How are you guys overcoming the lack of multiple XLR inputs on these cameras? How cumbersome is it to add an XLR adapter?

While XLR adapters do add some bulk to your camera package, they are handy. For a good affordable XLR adapter, I highly recommend looking into the Juicedlink series XLR boxes. Camcorder XLR Audio Adapter/Preamp: Buy Direct and Save from juicedLink

The units have built in active pre amps which give you a much quieter audio than the Beachtek or Sign Audio boxes. I use these on my Sony FX1's and the overall audio sounds better than on a Z1 with it's built in XLR audio. This is because the JL XLR boxes have built in active pre amps that knock down the noise floor giving you a quiet signal. While the Sony circuitry (liek many camcorder pre amps) have notoriously loud pre amps circuitry. Don't know about the Z5 yet though.

[Mark Fry]

Originally Posted by James J. Lee

First Post:
This new cam makes it a tough call for me as I was gearing up to purchase a newish used XH-A1.

On the basis that an XH-A1 in the hand is worth two FX1000s in the bush, I'd go for the Canon now, then have another look at the FX1000 after Christmas, once the second boat-load has arrived and prices have started to dip below Sony's list price. You probably won't have much trouble selling the Canon if you want to, provided you've looked after it OK.

The HV30 is a great camera for what it is, but since you're making a living from your camera, the XH-A1 is closer to what you need. It should earn you a little extra, so that you can afford a shiny new Sony in the spring. On the other hand, you might fall in love with the Canon and never look at another Sony ;-) Don't sell the little one, though - it's a great B-cam and doubles as the perfect play-back machine for your NLE, since it will read the XH-A1's 24F and 30F, as well as it's own 24P and, hopefully, the FX1000's 24P when the time comes.

HTH

[Aric Mannion]

"FX1000 does not offer native progressive recording"
Since the FX1000 can't shoot progressive footage natively, then how much better is it than de-interlaced FX1 footage?

[Craig Irving]

To my understanding, it will be the exact same process the V1U uses to record 24P. It will add 2:3 pulldown, which any NLE these days should be able to extract with ease. There's no real qualitative disadvantage to using this method and storing on tape as 60i. It just doesn't do it the way the HVR-Z5U does it, that's all. So there's an extra conversion step to restore to its original 24p nature.

So this is completely unlike the FX1, which doesn't capture 24p at all. The FX1 is capturing 60i, so the only option is to use some post-production process like Magic Bullet to fake a 24P effect.

The HDR-FX1000 would be a true 24p signal embedded into a 60i signal to be laid down to tape. This maintains a lot of backwards compatibility with NLEs, while at the same time making it easy to extract the pulldown it added.

Steve Mullen has written extensively about this process in his books as well, if that helps.

[James J. Lee]

I've had some experience with the XH-A1 and the Z1U as a VJ though not nearly as much as most of you guys as I was simply shooting with factory settings (though often in manual modes.) I had no idea what my news organization was paying for all this kit (lectronsonics, trams, etc.) until I decided to try to get into it on my own.
My first thought was to pick up an A1 and get going, but as a still Photojournalist, fast lenses and clean ISOs are everything and I'd hate to drop 3K and have the A1 killer show up on the shelves a month later. From what you guys have said though, it sounds like the A1 will grow with me for a while and match up well with the HV30, so I'm leaning that way. Anyone getting ready to upgrade and looking to dump their A1, drop me a line.

[Rick Steele]

Originally Posted by James J. Lee

but if the FX1000 is going to be a great low light performer on par with the PD170, I'm tempted to go that route.
Any thoughts?

I guess I don't understand where low light would be an issue in a controlled environment like interviews. If this is mainly what you do then feel fortunate you have many options. As far as the FX1000 killing off any cams... folks always say that whenever something new shows up with a lot of fanfare. Some are even thinking that Sony, Canon and Panasonic will close their doors when the RED Scarlet appears (which won't happen).

Bottom line is buy what you need now... but just like a car it will become yesterday's model sooner or later.

[Rodger Smith]

Originally Posted by Rick Steele

. . . Bottom line is buy what you need now... but just like a car it will become yesterday's model sooner or later.

Wow, is this good advise! Listen closely folks, you are listening to experience. Take it from an wedding, event, and broadcast, producer, "if you think you got it licked, surprised, your about to be licked."

[James J. Lee]

Well Rick, as usual, I think we all would like something that would "do it all" well, but I know there is rarely such a thing. It would be good to know that you could use a cam for everything from well lit interviews to documentary coverage in a war zone, both of which I've done as a still photographer. I'm have a great appreciation for tried true performers like the PD150/170 series but I'm feel strongly about shooting the 16x9 aspect ratio. There's certainly always something better coming down the pipe, but I'm wondering which of the current generation cameras will end up being known as legendary performers.

[Rodger Smith]

James, since you mention PD150/170 (SD) why not consider a DVX100B which is all of those two and a lot larger and more "pro looking" let alone I think a few more adjustable features. Otherwise, if it's HD via HDV and similiar budget, then I would probably chose the 3K range A1 just for the XLR's however do keep in mind that they both have to ether be line or mic, that is you can't have one on mic and the other on line . . was a bummer for us :o(

[Rick Steele]

Originally Posted by James J. Lee

but I'm feel strongly about shooting the 16x9 aspect ratio.

Yes, we all should. I know Content is King but it gets elevated to "Emperor" status on a widescreen display. :)

Not sure which new camera will be regarded as legendary 4-5 years from now but today I'd personally give that title to the FX1. This thing has (had) staying power in a very rigorous and changing market and is a real workhorse that takes a beating. At least in event videography anyway.

I'm really rooting for the FX1000 to take over the VX/PD line but there have been so many jaded reviews of new cams over the years and so many new technologies incorporated in them that I'm just going to wait and see. But as the name implies, Sony is clearly gearing this thing up to mark the rebirth of its VX1000, 2000, 2100 ancestors.

And if it doesn't live up to its lineage, at least it was great marketing hype. :)

[Aric Mannion]

I was referring to 30p, but in any case isn't it just a fake film effect it adds like a progressive scan mode?

[Tom Hardwick]

Originally Posted by Duncan Craig

Can the assignable buttons control the same number of parameters as the Z1, my favourite - white balance shift is not assignable on some new Sony HDV cameras.Cheers Folks!!

Good question Duncan. I had a long play with the Z5 yesterday, and though I looked long and hard through the menu, I couldn't find this w/bal fine-tune-adjust facility that I so love on my Z1s assign buttons.

At the mo I have my Z1 in daylight w/bal mode. I can easily cool the image in small steps, such that pressing assign button five 5 times (neat, huh?) I'm filming in the artificial w/bal setting. And dito back the other way using button six.

tom.