CineTech22's information is correct regarding effective resolution, exposure latitude, etc. Film is a chemical process, and the amount of detail that can be delineated on essentially a molecular level on celluloid is staggering, even with 16mm. BTW, DV resolution is 720x480, not 640x480, but your point still is made--WAY less info than film. As far as the focus operation is concerned, there is an aftermarket "follow-focus" rig available to address this, but yes, the stock camera doesn't let you set your focus-pulling marks.
I would contend, however, that you've lost the forest for the trees. This camera DOES spell the end of 16mm as the preferred medium for indie filmmakers. Premium Panasonic DV tapes are about $5/cassette (63 minutes). And are reusable. What does 16mm cost in stock and processing for an hour of footage?
The path to indie glory is no longer only "shoot in 16mm, blow it up to 35mm for festivals or limited release, get discovered". Now we have "shoot in anamorphic DV, release on DVD, get discovered" as the new, much more cost effective option. Another note: DV footage shot on a DVX100a looks great uprezzed to HD, even better than some low-end prosumer HD cams out there, mostly due to its great color abilities.
I have used both the DVX100 & 100a, and have run up against their limitations. Exposure and depth of field are the biggest and require a lot of production compensation to get around--lots of zoomed, wide open aperture shots with heavy ND filtering to get that truly cinematic look.
Still, if you know what you're doing, this camera is fantastic. Audio is superb (phantom-powered XLR's--yeah, baby!!), 24p is beautiful to work with, color is very "film-like", and although it is easy to "bloom" the whites and "crush" the blacks, the range is better than most DV cams, and both can be avoided by indie filmmakers who pay attention to settings and lighting.
Would-be filmmakers who want to go this route need two important accessories: the 16x9 anamorphic adapter by Panasonic (AG-LA7200g), and Barry Green's book/DVD package . By understanding the camera's strengths and weaknesses, you can get fantastic results from the DVX100a. If you are an independent fillmaker with a limited budget, buy this camera, the anamorpic adapter, Barry's book, and do some test shots to figure it all out, Then spend the $$$THOUSANDS$$$ you've saved by shooting with the DVX100a and use it for better lighting, production, script doctors, better actors, and more time in post. The result will be far more impressive than 16mm done on a shoestring--a turd that could more easily be blown up to 35mm, but is far less likely to be worth it.
That's my take, anyway. This camera does for independent filmmaking what the Alesis ADAT did for digital audio recording in the 90's--completely "democracizes" the field so that young, up-and-coming creative people can produce work of incredible quality for very little money and absolutely no "studio" control.
So buy this camera, indulge your creative freedom, make your prize-winning indie film, and "stick it to da MAN!"
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