Seagate, DVCPRO decks will play miniDV tapes with an adapter (that's quite $$ and fragile.) What happens is the deck uses its record heads to play back miniDV. This is because DVCPRO playback uses a wider track pitch (each "swipe" of the heads is wider) than DVCAM and DV.
Playing back DV tapes in a DVCPRO deck sometimes gets iffy as you're mixing ME (metal evaporated) tape with DVCPRO's MP (metal particle) tape, so bring along a tape cleaner so as not to bother the station engineers (and mostly likely whoever's doing the dubs ain't gonna know this) as you watch a head clog while dubbing.
There are some decks (maybe all, but I'm sure the old D450 had this) where you need to go into the menu and set the playback to "DV" or else you'll get the fast-playback you're talking about. There should be three options - DVCPRO, DVCAM and DV.
The D200 uses DVCPRO-L size cassettes, which are mighty expensive. Other DVCPRO cameras use "M" sized cassettes that have a max 63min load, but cheaper. While the L cassettes are physically the same as large DV tapes, it's not recommended as DVCPRO uses MP tapes and DVCAM and DV are ME tapes.
And no, you can't stick a miniDV tape in any DVCPRO camcorder, even with the miniDV adaptor. That being said, you can't record onto miniDV tapes in a DVCPRO deck with the adaptor either. Dunno why not, probably like how Sony's flagship DSR-2000 plays back everything but only records DVCAM.
All that being said, like Ivan said above, DVCPRO tapes are tanks. They stand up to much more than DV or DVCAM tapes.
When you use the DVCPRO miniDV adapter, take the labels off the tape, especially the spine label as they sometimes come off. I ended up using Avery permanent return address labels (you get 80/sheet) laser printed with my name, number and contact in 6-point type to leave some space for me to write something on the label.
Optics:
The stock Fuji 14x lens is fully manual, which will give you the experience you need when you get another broadcast camera. The Fuji is pretty much the bottom-of-the-barrel when it comes to broadcast lens quality. And I don't know of any 1/3" lenses that could replace this. That being said, the lens is much better than any consumer lens out there.
Filter diameter is 62mm, so it's on the end of the Cokin "A" series filters... a much cheaper "matte-box" if you wish... there's lots of plastic filters available. You can get a whole system for the price of one 4x4 filter. You can get very respectable pictures with the Cokin stuff. Lets you get creative with graduated NDs, etc.
Batteries:
While you'll be using Anton/Bauer bricks, they're a bit more expensive than the old NP-1 system... used NP-1s are aplenty - a station engineer might even have some still in storage that they'd be happy to give to you. Maybe even an NP-1 box too that directly replaces the A/B plate on the back of the camera. Maybe trade one hotshot for a few batts and a box or charger. It would be a win-win situation.
I have two personal Sony BC-1WD chargers that I can't over three-digits for anymore, they're just sitting in my drawer now as backup when I need a kicker 12v light, I can just slap an NP-1 and instant 12v source...
Older NiCad bricks and chargers are readily available on the used market, which softens the blow a bit. One of the old Lifesaver chargers should do, you don't need a Logic or Titan charger. Those run a pretty penny.
Audio:
Yup. Two balanced audio inputs at the back, but no LCD on the back to monitor timecode/audiolevels/battery. Everything is in the viewfinder. I don't think the D200 has the 5pin audio out (maybe a summed-mono 3pin XLR). The 5pin has balanced stereo-out. Pricey cable to even make yourself, since a Neutrik 5pin XLR is costly.
I do believe theres two audio pots at the back of the camera. There's just no outboard LCD - you gotta use the viewfinder to watch all of the camera functions, TC, audio, etc.
[ March 16, 2005, 01:36 AM: Message edited by: phillypulse ]
