VG20 specs in Japan

[Steve Mullen]

What you get in USA is what they get in Japan.

3 white balance settings.

No Creative Style which seems to mean no pix adjustments.

Seems to to be an error in USA PR.

[Chris Barcellos]

I have been in contact with Sony support and asking them to confirm that it was an error. It may have been, but those who purchased based on Sony USA advertising should be provided some sort of relief.

In fact, I reported this to Sony over a week ago, and there website is still giving the errant information.

[Steve Mullen]

I suspect it will take awhile.

If Sony USA made the error -- which is a big one -- some poor soul has to report it to Sony Japan. They will be very sure the don't erroneously report an error.

If the materials came from Japan -- it's even worse. Sony doesn't make errors -- which means some poorr soul has to inform them.

In any case, generally all PR material says not responsible for errors.

The real issue the VG20 has no pix adjustments: sharp, contrast, saturation. Does this matter to you?

[John Vincent]

Not so sure that a jury will feel that the PR waiver - if there is one (I haven't see one on any of the links I've posted) - gets them in the clear.

Regardless of any legal action, civil or criminal, Sony has clearly missed the boat by not simply having the features on the camera to start with. Still can't conceive it cutting into any FS100 sales. Can't understand how you can put the same chip and software into a $600 camera, and then give it more features then a $1,600 camera. How does that make any sense?

Steve, you've been saying that the 5n was the better deal for some time, and unless you just have to have the bigger form factor/built-in mic, that seems more true then ever.

And I feel the same way. Sharpening, CC, white balancing - all of those features have been hacked down/out of the VG20. It will still make good pictures - particularly during the day - but we'll never really know what the camera would have been capable of in more challenging conditions.

So, my long answer is yes - it does make a big difference to me. The Mark III has to be coming soon, and the AF200 won't be far behind. Unless something changes, I'll likely make due with what I have.

[Chris Barcellos]

After all I have done with this camera, and based on my prior experience with the 5D and the T2i, I have to say that I am tickled with its performance. In terms of image and ease of use, it is a dream. Adjusting the camera with the auto lens aboard is simple with the LCD screen open or closed. Switching to manual focus is a one button push. You can use focus adjust while recording. I am guessing that camera will record to one of theose third party recorders fine. It has a decent view finder that I have been easily able to adjust to my bad eyes and focus with. The autofocus seems to work very well, well enough, I think, to use in event shooting. The camera has a significant amount of adjustment to deal with backlighting, to introduce white balance shift, and to do most anything you want. And manual white balance couldn't be easier. Bring up white balance on the menu, point the camera at your white card or any white object hit the menu button, and the new white balance is running.

As a narrative shooter, my complaint is not being able to adjust sharpness, contrast, and saturation as I am used to. I am used to shooting a flatter image.

For those who don't shoot flat-- like event shooters this may actually be the ideal camera. Because you can't screw things up with a bunch of adjustments, you can have less experienced shooters capturing some pretty nice looking stuff.

For me as a narrative shooter, the jury is still out, but I am getting close to my own decision. In working with the footage in post, I am finding that I have more latitude to adjust things in the shots I have gotten, than I realized. More to come soon on that prospect.

[Steve Mullen]

My feeling is that if one's goals are shooting great video, getting a shallow DOF, and adding lots of old manual lenses -- it's hard to beat the 5n.

The "fun" of hunting-up or finding old lenses requires funds -- which one gets by buying a cheap camera.

The main issue is no mic adaptor has been built by anyone -- likely because Sony includes a communication chip in each product.

One might need to buy the mic and "pop" it open to get access to the mic leads. Then tap into them.

But, I just checked, after a year no one has posted a solution.

So the Sony external mic may be the best one can do.

[John Vincent]

If the grain structure is of a lesser and/or of a better quality then the Canon DSLRS at the same ISO/gain, say by a factor of two stops, then it'd be a lot more attractive to me.

I love me little Canons, but they're clearly 2nd class when compared to the newer cameras in terms of low light capacity (I shoot primarily horror films, so low light ability is a huge factor for me).

I like to see some more back to back footage, something like what Phil Bloom did with the AF100/Mark II/7D tests.

[Chris Barcellos]

Having shot movies like this with the 5D, in my personal experience with the VG20, I don't have any doubt the camera will match or better the 5D in image, as well as ease of use. The bit of shooting I have done in similar situations has show this.

http://www.youtube.com/watch?v=4eCL1...eo.com/8001564

Perfect Planning on Vimeo

Solitaire on Vimeo

Aunt Matilda's Present on Vimeo

Unauthorized DV Charity Challenge Promo on Vimeo

[Jeff Hinson]

Great job on Aunt Matilda Chris....loved the plot,actors, as well as the video quality. The grand kids did a great job. Very funny and good acting.
Was Obstinate Orange shot with the 5D also?

Cant wait to see you shoot a flick with the VG20...it will have to work hard to match the 5D IMO.

Jeff

[Chris Barcellos]

Yes on Obstinate Orange. Shot with the 5D.