Traveling somewhere warm...

A blow torch?

AK-47

Futureshop/Bestbuy

Futureshop or Bestbuy

Actually the point of having a blue only button is so that you can calibrate the monitor properly so that you don't have to spend as much time in your NLE color timing. It is strictly a digital feature. Film shoots have no need for it. The only way around needing a blue only button is to shoot RED.

Oh, and it is also kinda handy to be able to switch over to a waveform so that you can make sure that nothing is over 100 IRE

"Nobody shoots live sporting events, car commercials, etc. with some crappy handheld using a consumer-quality codec."

Actually that's the whole point of the HVX - it shoots full spec DVCproHD. Granted the lens/chipset isn't as good as a Varicam but it can be intercut. In fact a Ford commercial I worked on shot Varicam for the majority of the commercial, and used a HVX for all of the car mount stuff. Think of it as an Eyemo for HD.

Perhaps you should take some of your advice! I didn't see any support for any of your blanket statements...

So how about this: achieving lower bit rate by using 4:2:0 long-GOP MPEG-2 isn't acceptable when shooting stuff like green screen for broadcasters. (http://fxhome.com/forums/viewtopic.php?t=14929&view=next&sid=).

Or here's what Berry Green has to say (http://www.dvxuser.com/V6/showthread.php?p=1048065):

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Q:By and large no one complains about DVD quality, so here are we not looking at maintaining quality, whilst reducing bandwidth? Can it not also be said (with reference to DVDs) that it enabled far, far better than VHS quality at a sensible cost? So it WAS developed for quality?

A: Yes, but now you've stumbled exactly into the quagmire that is MPEG-2 interframe recording. MPEG-2 works quite well as a DELIVERY medium. MPEG-2 is not a synchronous codec with equivalent encode/decode times. DV and its variants are. It takes equal amount of time to encode as it does to decode. So realtime encoding at best quality is easily achievable.

But MPEG-2 is not that way. MPEG-2 was designed as a DELIVERY codec, not for acquisition! It can be very extensively processed, running multiple passes to optimize it to extraordinarily high quality within a given bitrate. But that means the encoding time might be 2x, or 10x, or 50x, or 100x as long as the decode time. Optimizing and improving and making the very most of the available bandwidth.

Can't happen in a camcorder. In a camcorder you're getting realtime encoding at nowhere near the efficiency of what's possible in a standalone encoding station. By very design you're getting the least-efficient MPEG encoding possible, being done not on a full program stream but on each individual group, and the differences from group to group can be extreme.

It's a great idea for delivery. But it's a lousy idea for source footage.
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There's a reason that I can go down to my local Panavision and pick up a HVX, but I can't find a XDCAM anywhere. And to top it off, the 16gb SxS cards are expected to be around $900 - which is right in line with P2 cards.

So is it a terrible camera? Absolutely not. The PMW is a great addition to the marketplace. So check your fanboyism at the door and be excited that there are so many choices for HD Video- Each with it’s own pros and cons.

Stevie Wonder - FYI the Sony PMW-EX1 records at maximum 35 mb/s, while the HVX is 100mb/s. Put it this way - I get 112min of footage on my 100gig firestore, whereas the PMW gets 100min on 32mb of memory cards.

That might not make a difference to you, but it does to industry professionals.

Still GOW