kinda smacks at the idea that bigger is better.

I actually prefer the size of my HC7's over the bigger cameras - at least for the kind of footage I shoot.

I think the HC7, HV20 and the A1U aren't nearly as intimidating as their bigger siblings - especially if people are self conscious being on camera.

Cliff Etzel - Solo Video Journalist
bluprojekt

Friar, its actually the big tools for the right fools...

I cannot count how many times people would freak out when i wnt to a corp job with a DVX 100...

then on one shoot when i had my DS570 and Z1s playing nice together, everyone was rightly impressed, but when they were told the DSR WASNT being used for this one paricualr shoot (run and gun vox pop) , and what they saw was a fully loaded Z1 they were pretty astounded... although now compared to an A1 the Z1 is rather weak its stil an impressive comparison when lighting suits

Another thing that made me laugh was when i shot a wedding as a second cam op using my MX500. It was during teh day and i couldnt be bothered luggin out the big gun.. this was bout 5 or 6 yrs ago.. soon after i sold off my Pana EZ1.
This is a consumer PAna 1/6 3CCD camcorder. Shooting in 16x9, the editor for ths one particular job throught i was using a SOny VX2000 with WA adapter.. the colour was rich and pristine and he wanted to know how i got it to look so good.
I told him it was a consumer cam and he didnt believe me..

to this day i ustill have that cam as a deck and as a family unit for family outings. I also hire it to brides and grooms who wnat decent image but dotn want to pay high end hire rates.

Its paid itself off 100fold

Here in the SF Bay Area we have a pretty big base of people doing industrials. Many started in film, moved to Beta, and are generally using larger professional cameras. So there's a bit of history and precedent here. There's also a big stratification between the wedding people and the people doing industrials - in 12 years as a grip/electric I never met a wedding shooter and didn't expect to.

Most of the clients are pretty familiar with the drill and I'd be very afraid to show up with a home video camera, regardless of how nice the picture looks. For that matter, I've also been a bit reluctant to use cameras in the prosumer class - a PD170 still doesn't earn you much credit, and I know a lot of people on both sides of the camera who'd be skeptical of the EX.

You can take all this with a few grains of salt. The level of production I worked in was the lower end of the professional level - definitely more technically sophisticated than most docs and miles above the average wedding or conference. You really just need to guage your market, clients, and competition to decide what gear you need and what image you want to present. That's largely experience. The problem is that no one will tell you you're coming off as a buffoon, so if you never hire crew and never work for anyone but yourself you may never know that you aren't measuring up.

My guess is that none of your competitors are showing up with handicams and that's why you got the odd looks.

Sometimes a client will feel like they're paying top dollar and will be a bit miffed if you show up with hardware store worklights and a handicam. They may not really be paying enough for a professional crew with professional gear, but they may *think* they are. You need to at least humor them.

Rob Mack

I imagine there is potential for a niche product that can be attached to some of these 'hand cams' that make them look like they cost 10k and up. Exoskeleton like....

It's not just the size, it's the shape and the colour. All that silver doesn't help. Compare the look of the HV20 to the Sony A1 with the audio bridge atop and you'll hopefully see what I mean. If it looks simple enough for them to use then the perception is you're just another tourist and not a pro.
I've had the same issue with Vegas, it looks simple so they think they could do it.

Bob.

Now that Canon has announced the black HV30, problems will be over :)

http://www.canon-europe.com/For_Home/Product_Finder/Camcorders/High_Definition_HD/HV30/index.asp

Personally I prefer large, heavy shoulder-mounted cameras. There isn't an optical stabilizer system that can make a shot as steady as just pure MASS when you're off the sticks. The gyro stabilizers are pretty cool though. They serve the same purpose without the weight.

http://www.ken-lab.com/

It cuts both ways. Last year I was on tour with the choir kids in Paris. I was denied entrance to the Louvre with my FX-1, even after patiently explaining to 3 layers of management that no, I was not with a television station. This past summer, a repeat tour with a different set of kids. This time, I had no issues with my HC-3 in the Louvre, except at the Mona Lisa exhibit. There, 4 guards hassled any still or video shooters.

An enterprising sort might have gotten video of the kids anyway by holding the camera upside-down, down at one's side, and turning away to look at some other exhibit. Not that I would do that, of course.

It cuts both ways. Last year I was on tour with the choir kids in Paris. I was denied entrance to the Louvre with my FX-1, even after patiently explaining to 3 layers of management that no, I was not with a television station. This past summer, a repeat tour with a different set of kids. This time, I had no issues with my HC-3 in the Louvre, except at the Mona Lisa exhibit. There, 4 guards hassled any still or video shooters.

An enterprising sort might have gotten video of the kids anyway by holding the camera upside-down, down at one's side, and turning away to look at some other exhibit. Not that I would do that, of course.
===============
This is a copyright issue and I am surprised they didn't explain that because it is common practice in museums worldwide. Many museums have works on loan. The lender may not have consented to photography of his or her work or the museum may not have wanted to pay for such permission. In some museums guards will allow you to photograph one work and not another. They simply do not know where the pictures might end up and it is understood that it is the copyright holder's right to determine how reproductions are used.
Video cameras that look like they are more "professional" invite the skepticism much more than cheap consumer cams commonly used by vacationers. Some allow photography by prior arrangement, but that is usually arranged for non-busy hours or before hours to minimize the disturbance to museum visitors.
Some museums don't even allow other artists to draw sketches of their paintings. At the Met here in NY you have to submit a form to get permission to do that.

John

I like the HV20, incredible for the price, great cinemode feature, takes pics while you shoot and the best part...no one notices compared to all the stares at the big boys toys as you capture interviews and clips without all the fuss.

Cheers

what rmack said. In my business usually bigger is better. Both because the image u get IS actually better but also because everyone involved on the front side of the lens assumes the production is more pro. Perceptions only -- maybe, but it's been some time since i learned that this is "smoke&mirror" based business where perceptions do count.

Size and color of the camera is a giveaway, up to a point.If it smacks of "amateur" I think you need to make it obvious that it's there as a toy.

I think as people use more of the better HDV equipment or the HDCam EX, those will be more familiar and acceptable to people. However, consider the Canon XL1. This camera was the top of the line in prosumer DV cameras yet I rarely worked on a job where these were used. Granted, I was working as a grip or electric and a shoot that would hire professional crew is much more likely to use professional cameras. I think, though, that widespread adoption of even the EX as a primary camera is going to be an uphill battle, at least in the bay area.

Point? If you're shooting industrials and everyone else is bringing in cameras that obviously look like professional gear, your client may very well give your prosumer camera a bit of stink-eye.

Some of these clients are pretty savvy about production gear. Steve Jobs comes to mind. He generally knows what the gear on the set is and actually has some preferences about what you show up with to shoot him. Keep in mind that some of these companies have had their own stages and equipment packages over the last 20 years. Some of them were doing monthly or even weekly satellite uplinks to all their facilities-they've engaged in very sophisticated operations. So you just need to be careful about the image you present.

Rob Mack

It's a good point. I shot some street protests back in '89 and made a point of adding things like lens hoods to my camera to puff it out and hopefully keep from getting clubbed by the police, but at other times you want to look like John Q Public.

Rob Mack