Bourbon Street enjoys a medium base of regular clients, but what keeps our lives interesting is the steady stream of producers approaching us with a rarely predictable assortment of projects. Recently, they've spanned from green screen shoots to motor sports to a polygamous reality show we'd rather not discuss.

We remain grateful for these opportunities, but we'd rather talk about Sony. Specifically, their HD Mini DV Camcorder. As of press time, not every detail was available but we do know that it will shoot only in 1080i and simulate 24p (what that simulation will look like remains unclear).

No doubt the smallness is going to create a lot of industry-wide whoopdy doo. It will certainly delight producers of low budget commercials, sports and documentaries. But at risk of being a pooper and not a party person, one should keep in mind its inherent hurdles.

The basic problem with the DV format is the limited reach of its lens. While there's also its restricted wide angle, controlling depth of field is the main snafu. HDV has twice the depth of field as HD or any other 2/3 "chip camera because HDV and DV are typically built on 1/3" chips. The implications may not seem obvious so consider that if you're shooting an interview that requires a soft background you'll need a soundstage the size of a half a football field.

One quick note for snickers and giggles: If you're like us, you've been privy to a fair share of film DPs trash talking HD. A recurring diss is that it has twice the depth of field as their precious 35mm. Oddly enough; we've noticed a curious silence when confronted with 16mm, which is essentially the same animal in regards to depth of field as HD. Touché. Snicker, snicker, snicker...

Now to pee on another industry sensation. We all know that 24p continues to hog the industry buzz and remain HD's own Lindsay Lohan "it girl." In previous columns we've noted some problems with 24P, namely its jutter as well as pulldown issues when broadcasting at 30p.

What's interesting is how this "buzz" is being exploited on the market. The Sony HDW-500 VTR sells for $32,000 new or $25,000 used, and records and plays 1080i but will also play 30p. The tricked out HDW-F500 deck, also by Sony, plays 24p, 30p, 1080i and records in all of these formats. As the broadcast standard in the US is shaping to be 1080i the only advantage to the F500 is 24p playback and 24P record for filmouts. The punch line is that the F500 costs $75k: Is 24p worth an extra $43,000?

Sony isn't exactly broadcasting that the 500 deck plays 30p. Gee, I wonder why. After looking more at 30p and continuing to chat about it with friends and colleagues, it seems more and more like a win win.

That's all for October. As always, we're interested in your comments, suggestions and soup recipes.