Sony NEX-VG10 OFFICIAL Camcorder Thread - AVS Forum
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post #1 of 339 Old 07-13-2010, 11:22 PM - Thread Starter
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Operating Guide (in English): Link [PDF]
Handbook (in English): Link [PDF]

Sony have announced a revolutionary new camcorder, the NEX-VG10: Press Release | Blog


So, RED (with your two-year delay on the Scarlet): The fawning fans were fun while they lasted, but Sony beat you bad, with 1/3 your bloated pricing and with actual brainpower. You'll always have those overpriced Oakley sunglasses to fall back on.

This is a giant leap forward for independent filmmaking. Sony have pulled way ahead of Panasonic's and Canon's plans to occupy the field. And now, those Canon 5DmkII and 7D rigs have just begun to look silly.
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post #2 of 339 Old 07-13-2010, 11:47 PM
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Thanks for that! I want one, with XLR inputs of course.
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post #3 of 339 Old 07-14-2010, 12:39 AM
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Please tell me this will have more than just a 1080 60i recording mode.
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post #4 of 339 Old 07-14-2010, 01:41 AM
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Just 1080/60i! GRRRR! But I bet there will be a pro version too, just like the NX5 is to the AX2000, which would have all the true 1080p modes.
http://www.sonystyle.com/webapp/wcs/...specifications
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post #5 of 339 Old 07-14-2010, 07:36 AM
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Redefining indeed handycam that's stereo only, wow that's the first expensive one in years to not have 5.1. A stereo microphone input, so forget about XLR without a bulky adapter.

Yes, it lists the image sensor as scanning 25P, but recording formats are 180i only, sorry Nikkei had an interview with theSony Image Sensor guy, and he was boasting Sony's quality over volume play, and the high scanning/output rate of CMOS sensors, so what gives with the l;acking progressive 50/60/24 frames modes. Serious vieographers, and photgraphers, but especially the enthousiasts crowd want progressive.

11 Lux, that doesn't sound very impressive.

Is the stabilisation as good as the cx550?

And what is the price, Sony europe never includes MSRP, Listprices, or expected average streetpricing in its productannouncements?

And here's the release Sony Europe emailed me today:

14/07/2010 06:00

Camcorder Redefined Sony unveils world's first consumer interchangeable lens HD camcorder Handycam® NEX-VG10E captures cinematic Full HD movie and stereo sound with great depth

14.2 effective megapixel ExmorTM APS HD CMOS sensor (19.5 times larger than conventional camcorder) for stunning HD movies with beautiful background defocus
Accepts E-mount interchangeable lenses plus A-mount α DSLR lenses (via optional adaptor)
High quality audio with Quad Capsule Spatial Array Stereo Microphone and external mic input
7.5cm (3 inch-type) Xtra Fine LCD and electronic viewfinder




Building on 25 years of continuous Handycam® innovation, Sony introduces the NEX-VG10E - the world's first consumer HD camcorder with interchangeable lenses. It's also the first Handycam® featuring an extra-large Exmor APS HD CMOS sensor that allows the creation of exquisitely cinematic background defocus effects.

Targeting video enthusiasts and photographers, the NEX-VG10E opens up unprecedented artistic possibilities not achievable with conventional consumer video cameras.

Compatible with a choice of high quality E-mount lenses, it's the first consumer camcorder that offers the same breadth of creative expression enjoyed by DSLR photographers. Alongside the three currently available E-mount lenses, users of the NEX-VG10E can experience a wide variety of A-mount DSLR optics by using the optional LA-EA1 mount adaptor. Picking from a choice of award-winning Sony G lenses, fixed-focal length Carl Zeiss portrait lenses and other models from macro to super-telephoto, videographers will have unprecedented freedom to explore an exciting world in movie creation.

At the heart of the NEX-VG10E is a 14.2 effective megapixel Exmor APS HD CMOS sensor that's teamed with Sony's powerful BIONZTM processor to capture very high resolution video and still images. Approximately 19.5 times bigger than the standard sensor found in other consumer camcorders, the APS-C sized imager also enables an extremely shallow depth of field. This allows videographers to achieve cinematic' results with beautiful background defocus (bokeh). In addition, the ability to capture DSLR-quality still images gives videographers extra shooting flexibility on assignment with less to carry.

Full HD 1920x1080 video images are captured in AVCHDTM format at up to the maximum 24 Mbps bit rate for superlative detail and clarity. Unlike many digital still cameras including DSLR that support HD video, there's virtually no restriction on continuous shooting time. Just slip in your choice of either Memory Stick PRO DuoTM or SD media cards and capture Full HD video and JPEG still images for easy transfer into your existing PC storage and editing environment.

The NEX-VG10E comes supplied as standard with an image-stabilised E18-200mm F3.5-6.3 OSS lens that offers a powerful 11x optical zoom range. Because of its optimized design for video shooting, this high-quality E-mount lens offers smooth, ultra low noise autofocus and iris control. In-built Optical SteadyShot image stabilisation assures clearer video images when you're shooting handheld. At wide angle settings, Active Mode enhances anti-shake performance even further, steadying jittery images even while walking. The lens also features a circular aperture for the creation of beautiful bokeh effects whether you're shooting video or stills.

Reflecting the demands of serious videographers, sound quality matches the phenomenal imaging performance of the NEX-VG10E. The Quad Capsule Spatial Array Stereo Microphone uses advanced processing algorithms to combine signals from four separate omnidirectional microphone capsules. The result is exceptionally clear stereo audio with a highly directional response: this allows videographers to capture more sound from the subject they're shooting, and less of distracting sounds around them. There's also a jack for adding an optional external stereo mic, plus a headphone jack for audio monitoring.

With a photo-realistic 921k dot resolution, the 7.5cm/3 inch-type Xtra Fine LCD features TruBlackTM technology for an exceptionally detailed, high contrast view of images and menu settings. The LCD is supplemented by a high-resolution (1152k dot) electronic viewfinder that assists easy framing and monitoring. The viewfinder helps operator capture clear images in bright daylight and its angle can be easily adjusted for comfortable operation.

Despite its groundbreaking creative possibilities, the NEX-VG10E is compact, beautifully balanced and easy to handle, even for novice videographers. An intuitive jog dial and hotkeys make it easy to navigate camera menus and adjust shooting parameters. Videographers can also enjoy precise manual control over Iris, Shutter Speed, Gain and White Balance for professional results.

A range of official accessories includes the ECM-CG50 Shotgun Microphone that attaches to the camcorder's accessory shoe. There's also a choice of rechargeable battery options, including the NP-FV100 that provides power for up to 330 minutes continuous HD shooting. A dedicated soft carrying case LCS-VCD is also available as an option.

Offered to customers as a free download, Vegas Movie Studio HD Platinum 10 video editing software includes everything you need to produce spectacular HD movies. Powerful tools for video compositing, colour correction and sound mixing make it easy to achieve cinema-quality results in your own home studio. You can also upload movies to web, burn them to Blu-ray Disc or author DVDs with custom menus and graphics.

The Handycam® NEX-VG10E interchangeable lenses Full HD camcorder is available from October 2010.


Model Name
NEX-VG10E

Image Sensor
APS-C type (23.4x15.6mm) Exmor APS HD CMOS sensor with RGB primary colour filters;
25P scanning

Gross Pixels
Approx. 14,600,000 pixels

Minimum Illumination
11 lux. ( 1/25 Shutter Speed / F3.5)

Supplied Lens
SEL18200 Sony E-mount E18-200mm F3.5-6.3 with in-lens Optical SteadyShot Active Mode

Zoom
11x (optical, ring)

Focus
Auto/Manual (ring)

Focal length (35mm equivalent)
Video mode: 32.4mm-360mm

Still photo mode: (3:2) 27mm-300mm /

(16:9) 32.4mm-360mm

Shutter Speed
1/4 - 1/4000 (video, manual control)

30 - 1/4000 (photo, manual control)

White Balance
AWB / Daylight / Shade / Cloudy / Incandescent / Fluorescent / Flash / C. Temp Filter / Custom

Recording Media
Memory Stick PRO Duo / Memory Stick PRO-HG Duo / SD / SDHC / SDXC (Class 4 or higher)

Recording Mode (AVCHD)
FX (1920x1080i, 24Mbps)

FH (1920x1080i, 16Mbps)

HQ (1440x1080i, 9Mbps)

Still photo resolution (JPEG)
16:9 Mode; 4592x2576 (12M) /

3:2 Mode; 4592x3056 (14M)

Audio Recording
Dolby Digital 2ch, via Quad Capsule Spatial Array Stereo Microphone;

External microphone input jack

LCD Monitor
7.5cm / 3.0-type, 921,600 dots (approx.)

Xtra Fine LCD with TruBlack technology

Electronic Viewfinder
1.1cm / 0.43-type, 1,440K dots (approx.)

Xtra Fine

Stamina
330 min. continuous recording

(with the optional NP-FV100, FH mode)

Interfaces
-Accessory shoes

-HDMI OUT jack

-Stereo headphone jack

-External stereo mic input jack

-USB 2.0 (mini B / Hi-speed) jack

-DC IN jack

Dimensions (D x H x W)
29.4 x 132 x 97 mm (inc. supplied lens and hood)

Weight (approx.)
1.3Kg (with SEL18200 lens, lens hood, NP-FV70 battery and Memory Stick Pro Duo)
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post #6 of 339 Old 07-14-2010, 10:07 AM - Thread Starter
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Quote:
Originally Posted by Paulo Teixeira View Post

Please tell me this will have more than just a 1080 60i recording mode.

The answer is no. But it doesn't matter. Anyone shooting more than soccer matches will use an editor like Adobe Premiere Pro which will take the 60i stream and interpolate it accurately to 24p if desired.

Personally, I think 24p represents an old bag of tricks, perpetuated by old-timers who think that it's the way to simulate "the look of film." This is ridiculous - as if the best thing celluloid could offer is stuttering motion.
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post #7 of 339 Old 07-14-2010, 12:58 PM
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When I say more than that, I mean at least 720 60p and 1080 24p although 1080 60p would be nice. I can't stand the look of 1080 24p compared to 1080 60p but if I were to use this as a B camera for a film, it would be better to shoot to pure 24p than something the starts at 30p, converted to 60i and then convert to 24p in the editor. The same goes for 720 60p in which other cameras may be shooting in that mode and never mind the fact that you basically wont be able to use this for high quality slow motion.

At least if I'm going to shoot something with other 1080 60i footage, this thing is perfect. I have a love/hate relationship with this thing.
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post #8 of 339 Old 07-14-2010, 01:12 PM - Thread Starter
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Quote:
Originally Posted by Paulo Teixeira View Post

When I say more than that, I mean at least 720 60p and 1080 24p although 1080 60p would be nice. I can't stand the look of 1080 24p compared to 1080 60p but if I were to use this as a B camera for a film, it would be better to shoot to pure 24p than something the starts at 30p, converted to 60i and then convert to 24p in the editor. The same goes for 720 60p in which other cameras may be shooting in that mode and never mind the fact that you basically wont be able to use this for high quality slow motion.

At least if I'm going to shoot something with other 1080 60i footage, this thing is perfect. I have a love/hate relationship with this thing.

I certainly agree with you that more options are always preferable. Indeed, rather like your relationship with the camera, Sony itself are in a love-hate relationship with their customers: they innovate well but they are desperate to maintain their appeal to high-income soccer parents who want simple shiny gadgets.
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post #9 of 339 Old 07-14-2010, 01:47 PM
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Not every model has to have 24p! Not everybody is going to demand it. But hopefully there will be a model to cater to those that do want it. And I really hope it doesn't need to come with a fan or other type of cooling system. Remember this camera looks pretty darn impressive considering it is under $2000. No doubt street prices will be even better.
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post #10 of 339 Old 07-14-2010, 03:13 PM
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$2,000 for a 1080i60 camcorder , no thanks I'll stick with my 1080p60 camcorder.
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post #11 of 339 Old 07-15-2010, 09:12 AM - Thread Starter
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Quote:
Originally Posted by jogiba View Post

$2,000 for a 1080i60 camcorder , no thanks I'll stick with my 1080p60 camcorder.

I've noticed that in reaction to this product launch, user forums across the Interwebs have been buzzing with cranky codgers who are turning up their noses at this product merely because it does not crank out video files in 24p, out-of-the-box.

As noted earlier in these comments, as soon as you lay down the video tracks from this camera into a non-linear video editor (e.g., Adobe Premiere Pro) - and who doesn't? - you have the ability to take the 60i file and, assuming your editing software is more than a toy, the 60i stream will interpolate to 30p or 24p without any problem. Remember, the APS sensor captures in progressive, but the camera is saving the footage into an interlaced container with a doubled framerate. Sony does this for two reasons: first, because they adjudged the simplicity of this approach to be most versatile (satisfying the need to capture fast motion while staging the signal path from 60i back to 30p/24p); and second, because they are predictably wedded to their own Blu-Ray standard, which notably does not have a 30p mode in its specifications at all and would take the 60i stream gracefully. I don't know if everyone realizes this, but Blu-Ray is the future of physical media and you're either going to burn to that, or downscale your footage considerably (making these debates pointless).

And after all that, the fundamental question is whether the complaints amount to anything in the real world. Would it have been preferable for Sony to provide more options, including 24p and 30p? Yes, always! But even if minor signal degradation occurs in the NLE going from 60i to 30p, can you see it?

I cannot, under even the most optimal circumstances shooting in AVCHD at a lower bitrate than this and with fast vertical motion. (I am referring to a careful A-B comparison on a Dell Ultrasharp U2711 panel viewing footage shot on a HDR-XR500V in AVCHD 17 Mbps that started as 1080i/60 and rendered out to 1080p/30.)

As usual, the crux of bitching and moaning is the usual suspect: gadget fanboys who have spent their lunch money on last season's toy and will defend it fiercly no-matter-what. Many of these people too have been compromising the hell out of their art, shooting with Canon 5DmkII and 7D D-SLRs using goofy rigs, separate audio capture and gelatin footage.

And I won't even get into the hilarity here of that whole 24p fetish, which is to say that amateur filmmakers presume jittery motion somehow instantaneously evokes the formality of cinematic art. Nonsense. Celluloid has much more to offer than 24 frames per second: detail, saturation, a low noise floor and a precious absence of digital artifacts. Moreover, I challenge anyone who insists on 24p to prove that they've ever once in their life gotten their footage printed onto celluloid (which is the reference point for their demand in the first place)!
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post #12 of 339 Old 07-15-2010, 09:22 AM
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I think there is little doubt Sony will release a better model. All it would take to the VG10 is adding 1080p modes and XLR inputs, and it would cannibalize the sale of every Sony pro camcorder on the market today! Perhaps this is why it does not have it, but I think demand will push Sony that way for a slightly more expensive option. It still has lossy audio, no timecode in, or genlock, no HD-SDI etc, so it's still not going to suit EVERYBODY. Definitely a huge step in the right direction. The price is awesome! Nearly half the price of the AX2000! And preferring a TM700 over this just because it has 1080/60p would be like preferring a cellphone camera that has 8 megapixels, over a Nikon D100 that has 6!
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post #13 of 339 Old 07-16-2010, 01:06 AM
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I need this. First day purchase
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post #14 of 339 Old 07-16-2010, 03:36 PM
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Quote:
Originally Posted by hpmoon View Post

I've noticed that in reaction to this product launch, user forums across the Interwebs have been buzzing with cranky codgers who are turning up their noses at this product merely because it does not crank out video files in 24p, out-of-the-box.

As noted earlier in these comments, as soon as you lay down the video tracks from this camera into a non-linear video editor (e.g., Adobe Premiere Pro) - and who doesn't? - you have the ability to take the 60i file and, assuming your editing software is more than a toy, the 60i stream will interpolate to 30p or 24p without any problem. Remember, the APS sensor captures in progressive, but the camera is saving the footage into an interlaced container with a doubled framerate. Sony does this for two reasons: first, because they adjudged the simplicity of this approach to be most versatile (satisfying the need to capture fast motion while staging the signal path from 60i back to 30p/24p); and second, because they are predictably wedded to their own Blu-Ray standard, which notably does not have a 30p mode in its specifications at all and would take the 60i stream gracefully. I don't know if everyone realizes this, but Blu-Ray is the future of physical media and you're either going to burn to that, or downscale your footage considerably (making these debates pointless).

And after all that, the fundamental question is whether the complaints amount to anything in the real world. Would it have been preferable for Sony to provide more options, including 24p and 30p? Yes, always! But even if minor signal degradation occurs in the NLE going from 60i to 30p, can you see it?

I cannot, under even the most optimal circumstances shooting in AVCHD at a lower bitrate than this and with fast vertical motion. (I am referring to a careful A-B comparison on a Dell Ultrasharp U2711 panel viewing footage shot on a HDR-XR500V in AVCHD 17 Mbps that started as 1080i/60 and rendered out to 1080p/30.)

As usual, the crux of bitching and moaning is the usual suspect: gadget fanboys who have spent their lunch money on last season's toy and will defend it fiercly no-matter-what. Many of these people too have been compromising the hell out of their art, shooting with Canon 5DmkII and 7D D-SLRs using goofy rigs, separate audio capture and gelatin footage.

And I won't even get into the hilarity here of that whole 24p fetish, which is to say that amateur filmmakers presume jittery motion somehow instantaneously evokes the formality of cinematic art. Nonsense. Celluloid has much more to offer than 24 frames per second: detail, saturation, a low noise floor and a precious absence of digital artifacts. Moreover, I challenge anyone who insists on 24p to prove that they've ever once in their life gotten their footage printed onto celluloid (which is the reference point for their demand in the first place)!

Were in my post did you see 24p, I like watching my 1080p60 videos in slow motion and 1080p60 will be common soon .

Quote:


OmniVision's new 14.6-megapixel HD sensor uses its most advanced 1.4-micron OmniBSITM pixel architecture to achieve optimal performance and sensitivity in the industry's smallest format. The 1/2.33-inch OV14810 has an active array of 4,416 x 3,312 backside illumination pixels operating at 15 fps in full resolution, or delivering full 1080p HD video at 60 fps, using a binning feature to achieve higher sensitivity. In full HD video mode, the sensor also provides additional pixels for electronic image stabilization (EIS).

http://www.imaging-resource.com/NEWS/1262646283.html


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post #15 of 339 Old 07-16-2010, 09:31 PM - Thread Starter
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Quote:
Originally Posted by jogiba View Post

Were in my post did you see 24p, I like watching my 1080p60 videos in slow motion and 1080p60 will be common soon.

Sorry, my mistake, I thought I was replying to something else.

I similarly like doing slow-motion work too, and the sensor you mention would be great if it were planned for sub-$2k prosumer devices (other than cell phones). It's an unfortunate oversight (so far as we know so far) that this new Sony lacks slow-motion like even their HDR-XR5xxV line.
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post #16 of 339 Old 07-17-2010, 04:03 AM
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I hate to say it as a Canon loyalist but Canon needs to engage. This thing, along with the other NEX line-up, is starting to look like the holy-grail to me. It's nearing time to sellout and re-vamp.

God I hate saying that. I hate Sony.

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post #17 of 339 Old 07-17-2010, 07:14 AM
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Quote:
Originally Posted by Wilson-Flyer View Post

I hate to say it as a Canon loyalist but Canon needs to engage.

I sort of see it the other way around.... I've become to dislike Canon. The year I bought my HV20 was when I fell away from Canon. Its cheap plastic casing, terrible lcd resolution, the rattling ois when the cam is off.... etc. The ONLY thing good about the HV20 was the good quality picture. Since then I've just given up on Canon.

Truth is though, they have done NOTHING exciting or innovating in the video cam line up in a number of years now. The HF, HS line up is nothing to write home about and the new pro cam line up is simply non existent. One can't help but wonder what has become of them??
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post #18 of 339 Old 07-17-2010, 08:48 AM
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@Barney, I'm a Sony man myself, but my understanding is Canon will finally have something by NAB 2011 (as will Sony pro), I'm led to believe it will be a full 35mm sensor with 4K resolution Of course this is just a rumor right now. Sony has confirmed 35mm sensors in Sony pro camcorders, but has not said anything about 4K.
Here's info regarding a prototype Sony 35mm pro camcorder. http://www.hdwarrior.co.uk/2010/04/1...corder-at-nab/
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post #19 of 339 Old 07-17-2010, 12:47 PM
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Quote:
Originally Posted by Chevypower View Post

@Barney, I'm a Sony man myself, but my understanding is Canon will finally have something by NAB 2011 (as will Sony pro), I'm led to believe it will be a full 35mm sensor with 4K resolution Of course this is just a rumor right now. Sony has confirmed 35mm sensors in Sony pro camcorders, but has not said anything about 4K.
Here's info regarding a prototype Sony 35mm pro camcorder. http://www.hdwarrior.co.uk/2010/04/1...corder-at-nab/

yowza, chevy!!!
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post #20 of 339 Old 07-19-2010, 06:54 AM
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I attended a Canon seminar a little over a year ago where the 5DMKII was discussed in detail pertaining to it as a video camera. At that seminar I brought up the idea of a full fledged video camcorder using the 5DMKII sensor and was told "we are working on it." My response was, "you guys need to do this fast because Sony will beat you to it" and the response that I got then was "I don't think so. Sony will not want to sabatoge its pro line."
Well now a year plus later and we are seeing essentially this camera with some more advanced pro features left off of it. Might there have been SOME truth to what the Canon rep had to say? Perhaps Sony left off some things to NOT compete with their pro models?

BTW has anyone found out whether this camera has a LANC connection?
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post #21 of 339 Old 07-19-2010, 08:33 AM - Thread Starter
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Originally Posted by Jay968 View Post

I attended a Canon seminar a little over a year ago where the 5DMKII was discussed in detail pertaining to it as a video camera. At that seminar I brought up the idea of a full fledged video camcorder using the 5DMKII sensor and was told "we are working on it." My response was, "you guys need to do this fast because Sony will beat you to it" and the response that I got then was "I don't think so. Sony will not want to sabatoge its pro line."
Well now a year plus later and we are seeing essentially this camera with some more advanced pro features left off of it. Might there have been SOME truth to what the Canon rep had to say? Perhaps Sony left off some things to NOT compete with their pro models?

BTW has anyone found out whether this camera has a LANC connection?

Every time you think you can explain that there is a conspiracy as such, there is a pertaining explanation in the wings that for consumer models, the designers simply don't want to confuse amateur shooters. So it's always a dead end second-guessing.

Regarding the absence of information on remote control, I'm afraid there's probably nothing, whether LANC or Sony's proprietary interface, given the "early look" photos we've seen. That, along with the lack of Sony's Active Interface Shoe and manual audio recording level controls, are my primary gripes.

I could care less about 24p (and so should the rest of the world who never, ever, ever gets their content printed onto film); and it's been confirmed that this actually shoots in true progressive 30p, which is great.
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post #22 of 339 Old 07-19-2010, 08:37 AM
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MY 550 has an av connector that acts just like a LANC connector (although apparently not called LANC and uses a different connector) and the body looks very similar so I would guess yes. Sony sells tripods and shooting grips you attach to zoom, record on/off so I would think it's decently safe to assume.


edited for clarity
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post #23 of 339 Old 07-19-2010, 08:40 AM - Thread Starter
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Quote:
Originally Posted by Dave Mack View Post

MY 550 has Lanc and the body looks very similar so I would guess yes. Sony sells tripods and shooting grips you attach to zoom, record on/off so I would think it's decently safe to assume.

First of all, your HDR-XR550V does not have LANC. Secondly, it's not "safe to assume" that this camera will have a port for Sony's proprietary remote control interface because the body has been lavished over completely by now, and there's no remote control port.
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post #24 of 339 Old 07-19-2010, 08:50 AM - Thread Starter
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Well, what is the little thingy called then which I plug a cable into and remotely control record, on/off, zoom etc...? The sony proprietary version? Does the same thing, no?

Not LANC. Use Google.
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post #25 of 339 Old 07-19-2010, 09:01 AM
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http://en.wikipedia.org/wiki/LANC

Well, I for one don't care what it's called. It does the same thing. I remotely control the camera via the sony cable. And you can always get an adapter for other things.


http://www.camcorderinfo.com/content...nnectivity.htm

The AV-out port has a proprietary design, which means it also can be used to connect the provided Component video cable. The port even works with other cables like Sony-proprietary LANC cables and S-video cables, but these must be purchased separately.


This is semantics. At the end of the day, this will probably be able to be controlled via the non-official LANC but still LANC-like connector so you can zoom, toggle record on off via a tripod, other thing via cable.
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post #26 of 339 Old 07-19-2010, 09:10 AM - Thread Starter
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Quote:
Originally Posted by Dave Mack View Post

http://en.wikipedia.org/wiki/LANC

Well, I for one don't care what it's called. It does the same thing. I remotely control the camera via the sony cable.


http://www.camcorderinfo.com/content...nnectivity.htm

The AV-out port has a proprietary design, which means it also can be used to connect the provided Component video cable. The port even works with other cables like Sony-proprietary LANC cables and S-video cables, but these must be purchased separately.

The forum is called "AV Science." So the difference between one proprietary standard and another open one is not trivial. Your comment is basically like saying, "AVCHD, MP4 - whatever!"

Camcorderinfo.com is a persistently inaccurate site and their phrasing, "Sony-proprietary LANC cables," is simply contradictory. LANC refers to a specific standard, with specific pin-outs, that Sony have abandoned. And in a great example of how Wikipedia is unreliable, the same entry links to two completely different interfaces (the pin-out diagram does not match the RM-AV2's plug).
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post #27 of 339 Old 07-19-2010, 09:18 AM
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Dude, chill. Really. I went back and edited my first post.

It does the same thing. At the end of the day, I'm sure you will be able to remotely operate this via the little propietary, non LANC jack like I do constantly with my 550. They do sell adapters too.
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post #28 of 339 Old 07-19-2010, 09:24 AM - Thread Starter
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Dude, chill. Really.

At the end of the day, I'm sure you will be able to remotely operate this via the little non-propietary, non LANC jack like I do constantly with my 550.

It's a supreme moment of chill to simply correct errors (and it's insecurity that causes accusation). Your error this time is to say that Sony's remote control interface is non-proprietary, since it is actually proprietary.

Also, there is no confirmation of an A/V port on the NEX-VG10. Check the specs again, and see this rare view of the right side: http://nexvg10.info/right_side.jpg
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Guys...enough!

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post #30 of 339 Old 07-19-2010, 09:34 AM
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Sorry, Mike. I just through my 2 cents in and unfortunately used the wrong term.
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