Is HDV a true professional format? Though many companies, including
Sony, JVC and a host of NLE makers say yes, some of us out here in the
trenches are still on the fence about the new format. I’ve tried the
HDV cameras on the market but prefer the robust DV format that the
Panasonic DVX100A or VariCam (DVCPRO HD). Why? HDV has got potential,
but it’s also got some issues, such as the potential for dropouts-I’ve
experienced them first-hand-plus the unpredictability of MPEG-2 motion
artifacts mean I’d have a hard time trusting HDV on a paying gig. But
it’s entirely a tape issue. Keep in mind that Sony introduced a new
DigitalMaster tape with the introduction of the camera. I believe that
it’s probably in direct response to the threat of dropouts. But if you
were to record on a dropout-proof system, such as an HDV-aware
Firestore-type of device, or even the P2, you should never see a
dropout.

HDV isn’t a bad format, but I don’t think HDV will earn the trust of
the networks and bigger production companies for crucial projects;
they’d much rather use a more robust format like DVCPRO HD, and
Panasonic has announced that it will produce a prosumer DVCPRO HD
camera. Is it worth the wait? In my opinion, for those who can afford
to sit this one out, it’d be wise to see what’s coming next.