Videomaker – Learn video production and editing, camera reviews › Forums › Technique › Editing › Vegas import & edit – cams and /or shooting modes to avo › Hmm. Well now: — Low lig
Hmm. Well now:
— Low light sensitivity?
That would be a plus when stopping up to narrow the DOF for filmlike shooting. I understand that CMOS sensors are still lacking in low-light.
— Big zoom range for sports or nature work?
Nothing exceptional needed. Cheapo zooms can distort on wide-angle, as the HDR-FX7 is reported to do.
— Shoulder-mount for long hand-held sessions?
Any non-tripod work would likely need a stabilizer, which complicates the shoulder/balance equation. So, N/A for this point.
— External mic connector with adjustable volume for recording dialog or sound effects?
I think XLR is a must, may feed by external mixer at line levels; ghost powering is not a must. So, scratch Sony HDR-FX1 on the XLRs.
— Small so it’s easy to take where ever you go?
— Big professional looking, to inspire your actors?
Tee hee X-D. Anything recognizable as pro/inspiring would be 10x more than I could afford in equipment, 10000x more in talent.
— Standard definition or high definition?
Tricky. I have the NLE horsepower (knock, knock) to handle HD.
My major criteria:
16:9 Native support w/o costly anamorphic optics. I guess the Panasonic AG-DVX100/A/B fails that one.
2 Channels of 16-bit audio, either 48kHz PCM or some lossless equivalent.
I’d like to get away from DV tapes, but internal-HDD camcorders are for now found mostly in the midrange consumer market.
Excellence of color capture, lack of interlacing and compression artifacts to ease greenscreen work.
24P w/ 1/48 shutter for filmlike capture. Some think 24F is "close enough", others think it’s awful and have vids to "prove" it.
Clear Scan or SynchroScan or some such for whenever I shoot CRTs — but they’re almost passe now, so this is optional.
Interchangeable lenses – not necessary, but adding a slight softening filter or external ND (film look again) would be a plus.
No wasted Firewire bandwidth on live streaming to my NLE (Vegas 7); I have a hard time wading through the mess of capture/encoding/pulldown standards, and need a better understanding of the tradeoffs in shooting, streaming, and editing, say, in 24P (2:3) vs 24P (2:3:3:2). And how does that compare with Sony’s CineFrame 24 (2:3:2:3)?
I’ve researched long and hard and am shortening my list bit by bit. The Canon XH A1 is looking pretty good so far, if I can "live with" 24F shooting.
Thanks for the prompts; helps my focus!