HD Camera Comparison
LAST UPDATED 11/13/08
Table of Contents:
Why Shoot HD
High End Cameras
Prosumer Cameras
Consumer Cameras Capable of Upgrades
Other HD camera comparisons are available on the web, such as this one at HD for Indies or this list of feature tests at Cinematography Mailing List. These are great to look at to see how technical-minded folks approach a camera comparison.
For this site's purposes, hopefully I can keep the tech talk to a minimum and speak to what options are available in the various budget ranges. But first, why not film?
Why HD?
For the purposes of making a movie, even 16mm film has better 'resolution' than all but the most expensive HD cameras. When it comes to rental costs, HD equipment (especially the decks) can be a lot more expensive than film equipment. But tapes (or hard drives) are cheaper than film (purchase and developing costs). You have to weigh the expense of developing film against how much footage you plan to shoot. If you want to end up with a film print that can be projected (there are still too few digital projectors out there, although a lot of major festivals now have at least one), you'll have to pay the expensive blow-up cost to transfer your final digital cut to film. In most cases, it won't look as nice as it would if you'd shot on film in the first place. Some movies shoot on film and finish to HD.
But assuming that you want to sell your movie to the HDTV channels (which are buying content like mad) and sell on DVD and the Blu-Ray, HD is beginning to make good business sense.
It takes a rare filmmaker to give up on seeing his or her masterpiece on film. But when a theatrical release isn't in the cards, HD is the optimum choice.
MORE: Digital Cinema Society's HD Primer
The below cameras are on my radar as being appropriate for use in shooting an independent film. Frequent visitors to this page will notice that I've added several of the higher-end cameras. These cameras are beginning to filter down from major and experimental productions to affordability for indie films.
High End
RED OneMSRP: $17,500 for camera body only (accessory prices and analysis)
RED One comes from RED, a company founded by Jim Jannard, the guy who brought us Oakley sunglasses. Jim is a camera nut and wanted to make a super-flexible camera that is capable of high-end images. There are some technical tradeoffs that are made and some filmmakers, like Rian Johnson, prefer other high-end cinema cameras like the Genesis or F23. Shoots 720p, 1080i, 2k and 4k resolutions, takes PL-mount, B4 mount, or Nikon 35mm and 16mm lenses.
SEE:
Rian Johnson's RED Reality Check
RED Up Close
RED on Wikipedia
REDUser.net
Cheapest rentals - ZF Films - they claim they will beat any quote
RED Epic
MSRP: $28,000 - $55,000 "brain" only
RED's large-frame sensor bodies are called Epic and were announced in November 2008. No word yet on when they will come to market. If the announced prices are accurate, they may be within the rental budget of an indie.
Thompson Grass Valley Viper
Manufacturer's Suggested Retail Price: Rental Only?
The Viper was used to shoot the David Fincher movie Zodiac. This 4k camera shoots some beautiful images but requires some serious drive solutions to record with. TGV offers their own Flashmag (TM) system that holds 20 minutes of 4k. The S.two system (used by Fincher) and the Codex can hold more footage, and also can generate 'offline' or lower-resolution files that can be imported directly into a non-linear editing system.
RELATED: CineGear 2007, battle of the Super HD Cameras
Final Cut Pro User Group - Viper Workflow
Silicon Imaging 2k
MSRP: Rental Only?
Another modular system, partly designed for high-end medical imaging, but also useful for filmmakers. It is about the size of two packs of cigarettes so you can get it into some tight places. It also boasts an 11 stop dynamic range.
SEE ALSO: Heather McKnight on shooting a music video with the SI2K
Silicon Imaging - SI 2k Features
Sony Genesis
Manufacturer's Suggested Retail Price: Rental Only?
Used to shoot Superman Returns and some of Apocalypto.
SEE: Review of Superman Returns
Sony F23Manufacturer's Suggested Retail Price: $150,000
Rental Quote: $3,200/day
The F23 was Sony's initial answer to the RED One - an awesome fusion of the Sony ENG-style cameras with their pro cinema CineAlta technology. It is especially touted for the low lux and variable speed abilities. I have personally seen beautiful F23 footage of variable frame rates, including ramping, and some excellent low light test footage. The F23 has a B4 mount for interchangeable lenses, and a modular hard-drive recording unit that can be mounted in a number of configurations... much like the RED One.
RELATED: CineGear 2007, battle of the Super HD Cameras
Jon Fordham's thoughts on the F23
Arriflex D-20, D-21
Manufacturer's Suggested Retail Price: $100,000+
Rental Quote: $5-10,000/day
UPDATE: Looks like the D-20 has been superceded by the D-21.
Arri is known for making the tops in 35mm film cameras, but they also offer an HD camera that mimics the feel and use of those classic film cameras. Many DPs who are used to the film version find it an easy switch to this digital version - and it accepts all kinds of film camera accessories like video assist systems. Like the Dalsa Origin and the SI2k, it features a detachable optical viewfinder.
SEE: Complete test of the D20.
Dalsa OriginManufacturer's Suggested Retail Price: rental only? ($1750/day not including accessories on Dalsa website)
Introduced in 2003, the Origin shoots 4k images, recorded by an off-board unit such as a Codex. It is designed to work with 35mm cine lenses. I cannot find record of any feature-length movies being shot using the Origin, although many commercials, short films and vfx sequences have been done.
SEE: Dalsa Origin official site
Panasonic Varicam (AJ-HDC27H)
Manufacturer's Suggested Retail Price: $45,000
Shoots variable speeds, hence the name. Records to DVCProHD. Special software solutions are needed to decode off-speeds from the DVC tapes.
ON THIS BLOG: I shot a short movie, "Stull", with the VariCam
SEE ALSO: Official Panasonic VariCam page
Panasonic AJ-HDX900
A lot like the Varicam but without the variable speed capability. This puppy can produce some very high-quality images with the standard Fujinon zoom lens. It's strength might be in documentary work, because of it's very speedy adaptability to various lighting conditions in the hands of a trained cameraman.
SEE: Discovery Channel documentary shot using HDX900
Panasonic AG-HPX-500MSRP: $14,000
Big brother to the popular HVX-200 (see below), the HPX records on P2 only but offers a shoulder mount design with interchangable lenses. According to Digital Content Producer it also offers 11 variable frame rates.
REVIEWS:
Review of the HPX500 by Simon Wyndham
Digital Content Producer review (you have to watch an ad)
Prosumer
RED ScarletManufacturer's Suggested Retail Price: $2,500-$12,000 for "brain" only
RED Cinema's baby brother to the RED One. The original specs promised 3k resolution for under $3k and it did not have interchangeable lenses. New specs were released in November of 2008, showing a dizzying array of options under the name Scarlet. It is a completely modular system, allowing you to select a "brain" with a sensor chip of 2/3" to full frame 35mm. Accessories like lenses and recording units are additional.
MORE:
ScarletUser
Canon XL H1Manufacturer's Suggested Retail Price: $8,999
For a few years, the Canon XL1 was far-and-away the most popular DV camera used in television and on low-budget indie movies. It offered a sturdy shoulder-mounted design for hand-held, plus interchangeable lenses. Canon was slow to bring out an HD version, and now that they have, they've caught some flack for not offering true 24p (which replicates the look of film). They do offer what they call 24F. I'm not qualified to say what that means, so check the below link.
RELATED:
An explanation of what "24F" is and why it is not "24p" - UPDATED
DV Info on the XL H1
Canon's own description
Panasonic AG-HVX200MSRP: $5,995
As you can see, this is a smaller camera that aims to bring over users from Canon's GL series or Sony's VX series as well as please the loyal followers of it's DV uncle, the DVX100. Because it does 24p, it has garnered a lot of attention from low-budget filmmakers; because it supports so many flavors of HD, it has garnered a lot of attention from everyone. It can record HD onto a P2 card, which is flash memory, like an iPod shuffle. The P2 cards cost a lot and hold very little footage, but prices are still dropping. The other option with the HVX is recording to a drive, like the Firestore FS-100, as you go.
As the review in the June 2006 American Cinematographer puts it:
Our first observation about the test footages was that ... the HVX200 had an engaging, non-video look.
...
If there's one major strike against the HVX200, it's the convoluted way in which it names files.
I would say that for this reason, P2 can actually add time rather than save it if you are trying to work it into a conventional, tape-based workflow. If you are designing your workflow from scratch, or shooting short pieces that don't need to go from offline to online, it can be a godsend.
RELATED:
HVX200 Field Guide
DVXUser review
CamcorderInfo.com's HVX200 discussion board
DP Rory King reviews shooting an indie film with the HVX200 and P2 cards
Canon XH-G1
MSRP: $6,999
The compact-body version of the XL-H1, much has been made of the Genlock, TC and HD-SDI jacks on this camera. Jammable timecode is something that people who shoot sync-sound will appreciate.
SEE: Studio Daily reviews the XH-G1 and XH-A1
Canon XH-A1
MSRP: $3,999
Same as the XH-G1 but lacking the 'jack pack'.
RELATED: DVXUser did a controversial comparison vs. Panasonic HVX
JVC GY-HD100MSRP: $5,300
The GY-HD100 has interchangeable lenses, XLR inputs and pro timecode options. The resolution only goes up to 720, but the ability to do 24p has JVC claiming it can be seamlessly mixed with footage from 16mm or 35mm. It also has the ability to stream the raw camera data out, so that it can be captured with a Miranda or the like.
RELATED:
How JVC does 24p
Gizmodo profile
$300,000 Documentary Shot with JVC GY-HD100u, blown up to 35mm
Sony HDR-FX1MSRP: $3,700
The FX1 is the most consumer of the prosumer HD camcorders. It lacks 24p or XLR audio inputs. It also isn't capable of as high of resolution as the HVX or the XL-H1.
RELATED:
Previous coverage on this blog of the Sony HDR-FX1
C-Net's review
Consumer Capable of Upgrades
Canon HV30MSRP: $1000
The specs for the Canon Vixia HV30 are nearly identical to the HV20. The main upgrade is the ability to shoot 30p or 30 progressive frames per second which should help with certain kinds of for-web work. (Like the HV20, it can also shoot 24p or 60i.) Other upgrades include making the zoom button bigger, making the LCD screen resistant to solarizing and making it possible to attach a particular battery pack called the BP-2L24H.
MORE: CamcorderInfo review
Sony HVR-V1UMSRP: $4,800
The V1U is the big daddy to the HVR-FX7, the major difference being the progressive scan support. Zeiss lens. CMOS chips. XLR inputs and bundled shotgun mic. C-Net says: "Sony also plans to ship the HVR-DR60, an optional, $1,800 60GB add-on for recording directly to a hard disk."
SEE: Sony's website, CNet review
V1-U Tutorial review
Sony XDCAM EX PMW-EX1
MSRP: $6500
The PMW-EX1 has 3 x 1/2" CMOS chips, shoots interlaced and progressive up to 1920 by 1080 and offers variable frame rates (1-60fps at 720p). It records to memory cards or has an SDI with timecode out.
MORE: Adam Wilt's PVC review
Canon HV20MSRP: > $1000
The Canon HV20 excites a lot of budget-conscious filmmakers because, with accessories like a Kona card for direct capture of the HDMI out and a lens adapter, it can produce amazingly high-end images. It has now been superceded by the HV30, so deals should be plentiful for used ones.
RELATED: This post at HD for Indies sums up a lot of the HV20 customization and workflow techniques.
A hint on shooting good footage in any format: budget for a d.p. who knows the camera you are using!
A hint on avoiding headaches in post: Know your post-production workflow before you shoot, so that you can organize the footage appropriately while you shoot. HDV vs. DVCProHD vs. HDCam vs. HDCam-SR vs. some data format like .dpx makes a difference.
If you have experiences with these HD cameras, share them in the comments below.
posted by J. Ott @ 3/03/2005 01:25:00 PM
Permalink |
5 comment(s)
| 
5 Comments:
This post has been removed by a blog administrator.
We've about locked our DP and are pretty sure we're going HD. Of course, we'd like to go film, but our budget and timeline don't really make that a reality for us.
I'm throwing this out there to see what you guys think -- if you get a decent theatrical distribution deal (which is all of our ultimate goal), wouldn't you think the distributor would handle the transfer costs?
How much quality do you lose in the transfer? We're probably going to shoot on a Sony HD Z1U.
I've heard in a few articles that the HD is often "too crisp" ... if that's the case, losing some quality might not be a bad thing.
I know a couple of indie filmmakers who've shot on film, then had to trnsfer it and edit digitally. I'm not really sure how this works -- so then you go back to film for the final product ???
You guys continue to be a great resource.
I'd love to hear your thoughts.
Glenn
You will get better results if you can find someone (cheap) with a HDCAM rig, maybe with a HDW700 which is the entry true HD camera from SONY.
The difference besides the better format is the bigger CCDs and a much better lens. If you try to upsample HDV footage to film it will turn out very soft.
We do HD editing from Film which is done a lot of times latelly especially for commercials. Also, when you edit from Film on NLE to go back to Film you usually use a 2k or 4k Video Format which is higher resolution than HD and it is usually in an uncompressed format. This way you preserve the 35mm films quality as good as you possibly can. I understand that there is now a 5k format available as well. We usually work with individual frames and the editing process seems sometimes like we are still using an old Video Toaster rater than an ultra modern computer.
You should be able to get a DP with a real HD camera for about the same price as the DP himself if you can convince him. I do (especially in my downtime in summer) edit and shoot for credit mainly just to keep my name out there.
Good luck with your shoot.
Best regards,
Daniel
Daniel I own a sony Z1 and I would like you to post any comment about it. Tanks a lot
I've had the V1U for a little over a year now and I love it.
I mostly film skateboarding with it, but hopefully soon I'll be started with some short films.
any other v1u users who have added to their camera with a certain matte box and rail system, 35mm adapter and lens etc?
Post a Comment