Here’s one and one half ce


Here’s one and one half cents worth.
It sounds like you have already spent 3K on the editing system, so you have 3K left?
You should really do some research on the GL2. In this forum and others there have been allusions to a problem that crops up with the tape moving mechanism breaking down after a period of a year or so. The degree of chatter on this subject (which in fact but who knows could be a lot of chatter from just a few individuals) steered me away from my early consideration of a GL2.
I own two Sony VX2100’s and can vouch for their toughness under challenging outdoor conditions and the excellent quality of images even in low light environments. Example, I remember when my Canon L2 would freeze up on me in Hong Kong due to super high humidity. My 2100 performs non stop even when hit my rain drops (which I do not recommend).
On a recent trip to the Philippines, my working partner had a GL2. It was new for him and he had a hard time using it. (Perhaps not all the camera’s fault.) This is a simple simon way to say it, but the buttons are more obvious and better organized on the 2100, than the GL2. (One of the things that marred some of his footage is that the transitional effect of blinds being shut showed up unwanted and unexpected on several occasions and it was not obvious how to shut it off. OK, more familiarity with camera and manual would have helped.)
A striking thing about the GL2 is how light it is. For many, this might be a plus. For me, it had the feel of a toy camera. (Forgive me GL2 owners. I have seen short films with quality images on large movie house screens where it said shot by GL2’s in the credits; so I can be objective sometimes.) It is easier to hold a heavier camera steady than a camera that feels as light as the GL2. I estimate, based on handling both cams, that the 2100, with a 5 or 9 hour battery, and the wide angle screw in lens is one and one half to two times as heavy as the GL2. I am a bag of bones and have no problem hand holding the 2100 for an hour at a time.
So if you were to go with the 2100, also get:
—two 5-hours batteries (the one that comes with the cam is only in the 2-3 hour range)
—several (5, 10??) “haze” or lens protection filters. Essential in the motor cross environment. Also, special wipes because you will be wiping them a lot. When scratched, toss them out. Get quality filters, which will not be cheap cheap, but relative to cost of tape, will be an excellent investment to protect your lens. (In safe environments, I don’t use protection filters, due to unwanted uncontrollable lighting effects.) (Note. The 2100 with normal lens comes with a hood that sticks out about 3 inches from the lens; this also reduces dust by a factor.)
—a substantial tripod, at least 5-10 lbs. The weight will increase steadiness when you are in vibration land; also, is is not a pretty sight to see an elegant expensive lightweight (fluid head, etc.) tripod blow over in a gust of wind.
—a lavalier setup, recommend a basic hardwire input. 2100 has pin input, not XLR. You might want this for interviews on site. I find a ten foot cable from a belt unit on the subject over to the cam, with XLR to pin cable at the end, works very well. A lot of your motorcross shooting may be handheld; for interviews, you will need the tripod.
—a set of earphones that will fold up into nothing, so you can stick them in your pocket, for monitoring audio for interviews.

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