HD Camera Comparison « Making the Movie

3Mar/051

HD Camera Comparison

LAST UPDATED 6/11/10

Table of Contents: Why Shoot HD? High End Cameras Prosumer Cameras DSLR Still Cameras That Also Shoot HQ HD Video Consumer Camcorders Capable of Upgrades

I've noticed a lot of people have been coming to this site looking for digital video camera comparisons. If you just want prosumer DV cameras, try the DV Camera Comparison.

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 an 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 only want to sell your movie to the HD TV channels and sell on DVD and 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 One
MSRP: $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. But several major motion pictures have now been shot entirely with RED, including Stephen Soderbergh's Ché, so I'd consider it battle-tested. Because it operates like a computer in a lot of ways, having a dedicated tech in addition to the d.p. is recommended. 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

RED Epic - announced but not yet available
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, among others. 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. The workflows are pretty well worked out, but you'll definitely want to do some research if you're used to a traditional film 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. SI was pushing it for filmmaking, but I don't know of any features that have yet used it all the way through.

Sony Genesis
Manufacturer's Suggested Retail Price: Rental Only?

Used to shoot Superman Returns and some of Apocalypto. It was initially plagued by a 'blue-pixel' issue, but seems to be pretty well worked out. Recent major features shot with the Genesis seem to be trending towards cheap comedies.

SEE: Review of Superman Returns

Sony F23
Manufacturer'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. The only record of a feature being shot on the F23 is this German made-for-tv movie in an article on Sony's website.

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 superseded 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 Origin
Manufacturer'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 and the new AJ-HPX2700 and AJ-HPX3700)
Manufacturer's Suggested Retail Price: $45,000

Shoots variable speeds, hence the name. Records to DVCProHD and the two new models can also record using Panasonic's P2 system to solid-state cards. The AJ-HPX3700 has a dual-link HD-SDI for 10bit 4:4:4 high-end images. You'll need a separate recorder to take advantage of this. Although the variable frame rate stuff is nice, special software solutions are needed to decode off-speeds. It features interchangeable lenses that are at least as expensive as the body.

ON THIS BLOG: I shot a short movie, "Stull", with the original 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-500

MSRP: $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

Canon XL H1
Manufacturer'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.

Panasonic AG-HVX200
MSRP: $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.

The HVX has been über popular among low-budget indies because of it's cost/image quality value. Consequently, a whole market of lens adapters, matte boxes and other pro-level hardware hacks have sprung up around it. Too many indie feature films to list have been shot using the HVX200.

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'.

JVC GY-HD100
MSRP: $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.

DSLRs

SLR stands for Single Lens Reflex, which is the basic type of pro stills camera, the one where you look through the viewfinder, and thanks to a mirror (the single lens reflex), you can see what the lens is seeing -- right until you pull the shutter and the mirror lifts. When these went digital -- the D in DSLR -- it became a no-brainer to add video. Recently, the video quality and manual features on some of these DSLR's has gotten to the point that indie filmmakers have begun experimenting with them.

The advantages are: cheaper lenses and great depth-of-field and everything else that comes from nice photo lenses, bigger sensors than many HD video cameras meaning more light and color info. The disadvantages -- rolling shutters that create a "jello cam" effect when there are fast pans or movements, heavy compression of image, lack or poor implementation of some video-centric features, such a sync sound.

Canon 5DmkII
MSRP: $2,399

The 5d mark 2 is Canon's top-of-the line full-frame stills camera (is has a larger sensor size than the 7d and T2i). It has always shot beautiful video, but originally it did not shoot 23.98p, the standard for most film-like workflows. The hue and cry from the indie shooter community caused Canon to release a firmware update that added the option, so be sure to download and install this update, which only affects the internal programming of the camera.

MORE:
5dmkii vs. Red vs. GH1 test shoot

Canon EOS 7D
MSRP: $1,699

The 7D was the first Canon DSLR to shoot 23.98 progressive -- the same speed as standard film projection. Other flavors can certainly be used, especially if you're going straight to the web and not into a feature film-type workflow. This camera has the same chip as the T2i, but has an option for HDMI out and is much more rugged. If you are going to be shooting in adverse conditions, I recommend ponying up the extra cash, as my T2i was severely limited, for example, when I used it in the desert and there was a lot of dust blowing around.

MORE:
I talked about the 7D's drawbacks when it first came out

Canon Rebel T2i (550D)
MSRP: $799

This is the camera I own. I got it when it came out because the initial tests showed that the images created by the 7D were identical to those created by the T2i. The 7D does allow some better ISO customization and has HDMI out, but neither of those were dealbreakers. So far, this camera is working great, and I feel like a got a steal with the much lower price -- but I do recommend with any DSLR to budget for the accessories that will turn it into a rig.

MORE:
T2i vs. 7d shootout

Panasonic GH1
MSRP: $1,199

The GH1 came out before all the Canon video-DSLRs and thus was the coolest kid in town for a short time. This was enough time for some very creative people to figure out a lot of ways to get amazing images from it. While it lacks some of the features and lenses of the Canons, there's a good chance you could find a used one with a whole digital-shooters kit already put together for a song cheaper.

MORE:
This blog's original coverage of the GH1
The GH1 formula
Mounting the GH1

Scarlet camera from RED showing modular accessories RED Scarlet - not yet available
Manufacturer'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, and version with a fixed lens or an interchangeable lens system. Accessories like lenses and recording units are additional. As of 6/10/2010, the Scarlet is still "vaporware". I believe RED will eventually complete the product, but I could not wait for it myself and purchased a T2i.

MORE:
ScarletUser

Consumer Capable of Upgrades

Canon HV30
MSRP: $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-V1U
MSRP: $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 HV20
MSRP: > $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 hug difference!

If you have experiences with these HD cameras, share them in the comments below.