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My Canon HV20 Camera Rig - still in the works
Welcome to the DOJO!
First off, I’ve been a bit lax in my posting this week due to a rather intense bout of food poisoning. We were at my wife’s favorite sushi place (Kabuki’s in Pasadena) and I must have been hit with some bad Tonkatsu because we both ate the same sushi and she didn’t end up sick. Food poisoning, if you’ve ever had it, only lasts about 24 hours, but those 24 hours are some of the worst in your life.
Of course, the wife didn’t completely miss out on the pain of my illness: during one of my hyper-vomit sessions I missed the toilet and sprayed some rather colorful stuff on the wall. Note to self: avocado rolls look particularly disgusting when half-digested and smeared on bathroom tile. Running through my head during the entire sessions was “Gee, I wish I could be filming this.”
If I was a wittier or more clever writer, I’d be able to seque vomiting in to talking about my current Canon HV20 camera rig, but I’m not. You, faithful students of the DOJO, will have to put up with one of my usual heavy-handed transitions.
Now that I’ve mentioned it a few times in passing, a few readers have written in and asked about the set up I’m using right now for my Canon HV20 HDV Camera and if it would work for a Canon HV30. The answer to the second question is “Yes.” Physically the Canon HV20 and HV30 cameras are pretty close to identical, with only a couple of interior changes — the main one being the HV30’s ability to shoot 30p footage — so any accessories or add-ons for the HV20 can be used on the HV30 and vice versa.
In regards to the first question I want to say upfront that my HV20 rig isn’t quite complete yet. I’m still waiting for the most important add-on, a 35mm adapter, which is on back order and won’t be to me for another month or so. I’ll be tossing a matte box with rod support on the front of that and then attaching a Xenarc 7″ monitor to my rails (once I figure out how to do it). No, it’s not an HD monitor. I’m still looking around for the best option for an HD monitor to go with the Canon HV20…I’ve been considering trying the DIY Samsung monitor route, but I’m not sure how a 10″ monitor will work on a small camera like the HV20.
On to the rig itself. Obviously, the base of the unit is the Canon HV20 HDV video camera. Right now both the HV20 and its successor, the Canon HV30, can be found for under $800 and, in some places under $700. I’d be a tough choice of which camera to pick if I were buying one today with the HV20’s price being $100 or more lower versus the HV30’s ability to shoot 30p footage in addition to the standard 24p or 60i. The HV30 also looks really cool in black and, as Wesley Snipes said, “Always bet on black.”
I’ve got the HV20 mounted onto an RS-15IIM Cavision Rod Support System. The Cavision rails are very slick, very solid and give your camera the extra support it needs to handle all the addition accessories and weight we’ll be adding on to it. It also comes with an adjustable height bracket I’ll be using to brace the 35mm adapter and Nikon lenses when they come in. Rails are an essential piece for any serious indie or guerilla filmmaker looking to get his camera up to snuff, and these are priced at a reasonable price under $170 at B&H or Amazon.
Out on the front of the camera I’ve got the monster Raynox HD6600 PRO wide angle conversion lens
You’ll notice a round lens hood on the Raynox if you watch the video that goes with this article. That is a simple metal lens hood with a 72mm ring I found on eBay for a few bucks. I’d prefer to have it mount to my Cine City Matte Box, but I haven’t been able to get a larger adapter ring for it. Right now all I’ve got is the 43mm adapter the Cine City guys sent with it. I’ll be working on that in the future, but right now the lens hood works fine.
Next up is the Azden SGM-1x shotgun microphone. I cannot say enough good things about the Azden SGM-1x. As I talked about in my earlier article on the Azden SGM-1x, it provides some of the best, pro-quality sound I’ve ever heard come out of a budget mic. Check out the full review of this great indie microphone for more info.
The furry windscreen on the SGM-1x is from Micover, which ran about $24 or so. I picked it up on eBay, but it is also available on their website. There isn’t much to say about it — well made and slip on. I do want to mention that shipping from Micover took a bit longer than I’m used to. The windscreen took a bit over 3 weeks to make it out to me and I was charged $6.95 for shipping on a $24 item they only paid $2 to ship (according to the stamp on it).
The Azden is attached to the Cavision rod support with a basic flash bracket
On the bottom of the rails is a Beachtek DXA-4 XLR adapter. I’ve talked about this before and it is a must have for anyone who wishes to get pro sound by using XLR microphones. A number of people have asked why I didn’t opt for the smaller DXA-2 XLR adapter. Truth be told, the units are basically identical except for the size and I prefer the larger size since the rails are mounted to the adapter and the adapter mounts to my tripod. I feel like the extra bulk of the Beachtek DXA-4 gives the entire setup additional stability. Check out my full Beachtek DXA-4 XLR adapter review for more of my thoughts on this great piece of gear.
Last up, the Hoodman H300 LCD screen hood
When I’ve got the HV20 rig all together, I mount it either on my Davis & Sanford Provista Tripod with FM 18 head or to the Cine City Shoulder Support System I reviewed last week. The Davis & Sanford tripod is the single best under $1000 tripod I’ve had the pleasure to use. The sticks are metal and very strong, and the FM18 fluid head is “like buttah.” It’s hard to believe a tripod priced at under $200 can perform as well as this one does. I cannot recommend this tripod enough. Right now B&H gives you a free W3 Dolly when you purchase the Davis & Sanford Provista 7518 tripod with FM18 fluid head.
And that, my friends, is my Canon HV20 camera rig. I might upgrade to some Cavision Dual Handgrips
That’s it for this rather long posting. I’ll be back on Monday with some more indie filmmaking fun from the DOJO. Until then, keep shooting!
Mat N., the Film Sensei
http://www.FilmSensei.com
Hi Mat,
That’s a nice looking rig!
I’m putting together an HV20 rig myself so it’s interesting to see what others are doing.
I’d love to see what you’ve shot, any chance of posting a few clips?
Cheers,
-Shaun
June 16th, 2008 at 7:37 pm
Shaun:
Thanks for the kind words. I’ve had a lot of fun putting the HV20 rig together and can’t wait for my 35mm adapter to come in (I’ve ordered 2 - a Brevis and a TwoNeil static adapter).
I’m working on putting together some footage now and should have it up later this week. I’m also planning to use the Canon HV20 as one of the main cameras on a low budget feature I’ll be shooting in the late summer/early fall.
M
June 16th, 2008 at 9:35 pm
Mat,
I wish you the best of luck with the feature and look forward to checking it out here.
Are you sure about using 35mm adaptors? Just my ten cents, but I’d be inclined to spend the money on upgrading your audio set up. That Azden is a reasonable mic but it hardly matches the quality of your HV20. Sticking lenses onto lenses is just plain wrong, it causes vignetting, chromatic aberrations and focusing complications. Have some faith in the HV20’s lens, it’s a fantastic piece of glass.
Check this out http://www.kenstone.net/fcp_homepage/right_mic_brockett.html
Here your money would be better spent.
Anyways, best of luck.
-Shaun
June 18th, 2008 at 5:13 am
Shaun:
I’m not sure I completely agree with your “lenses on lenses is just plain wrong” thought. It’s all about being able to get the effects you want or need on screen. Being able to control a viewer’s eye with the use of focus is very important and a 35mm adapter allows a filmmaker to have that control. Should you use one for every shot? Definitely not.
It is no different than making use of a wide angle adapter, filters or any other trick or tool out there.
In regards to upgrading my sound: I’m actually very happy with the Azden SGM-1x mic. I’ve used it on a number of shoots and seen it used on tons of indie films. It’s very reliable and does a great job. That being said, as with any other piece of equipment I’ve got, I’d love to upgrade to a high end $1000+ pro mic — just like I’d love to upgrade to a $150,000 35mm camera with a set of Zeiss prime lenses.
Thanks again for commenting. It’s great to have another filmmaker checking out the website!! Post any time!
Mat N
June 18th, 2008 at 7:04 am
Mat,
Well I guess we’ll have to agree to disagree on lenses on lenses ; )
Anyways, did you have a chance to read Dan Brockett’s fine article on microphones? I’m thinking about getting the Audio Technica AT875R, check out the samples… what do you think? BTW, what are you monitoring with? I use the Sennheiser HD280 Pros.
On post, I cut with FinalCut Pro and use Peak and Audacity for audio fixes… and you sir?
Looking forward to seeing those clips you’ll be putting up by the end of the week!
Cheers,
-Shaun
June 22nd, 2008 at 2:49 am
How does the bescor flash bracket not block you opening the lcd, did it require a mod?
July 5th, 2008 at 1:41 am
April:
The Bescor Flash Bracket is on the opposite site of the camera from the LCD, so there is no problem with it at all. No blockage.
-Mat N
July 5th, 2008 at 6:38 am
This website is really valuable, thanks!
I have an HV20 myself, and just received a 7518 tripod from B&H.
Seems really smooth, but I can’t get the tripod to keep from tipping over when I pan or tilt… are there any tricks to this that I’m just not getting? Is there any way to lessen the resistance? The large lever on the head only seems to lock it into place…
August 29th, 2008 at 5:30 pm