Anyone get theirs yet?

[Steve Connor]

If you have a Z1 and someone else has a HVX200 then only the HVX is “True HD”

If you have an HVX 100 and someone else has an F900 then only the F900 is “True HD”

If you have an F900 and someone else has a Viper then only the Viper is “True HD”

🙂

Happy Holidays!

Steve Connor
Cardinal HD

Please fill in your profile – it helps US to help YOU!

[Gary Adcock]

[Chris Baldwin] “I am not up to spec yet to understand the jab about “true HD””

the HVX200 shoots the same format as the top of the line Varicam, it is considered to be a “True HD” format where as HDV was conceived as for consumers- it is not frame accurate for editing in its native space.

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Accountclosedduetopolicyviolations]

Do not worry Steve,You can upgrade soon.

[Steve Connor]

[jiri vrozina] “Do not worry Steve,You can upgrade soon.”

LOL 🙂

Seasons greetings to you Jiri

Steve Connor
Cardinal HD

Please fill in your profile – it helps US to help YOU!

[Michael Brennan]

[gary adcock] “the HVX200 shoots the same format as the top of the line Varicam, it is considered to be a “True HD” format where as HDV was conceived as for consumers- it is not frame accurate for editing in its native space. “

“True HD” is a Panasonic marketing phrase.
The top of the line Varicam records 960×720. Is Varicam True HD?
No! There is no 960 x 720pixel HD format defined by SMPTE.
So HDCAM format 1440×1080 pixel ain’t true HD SMPTE 274 either.

In my book a “True HD” camera is one where the number of pixels recorded matches the SMPTE format and where the number of pixels in the camera head is the same as or greater than what is recorded (and it has a lens matched to the format).

Using this formula, a “True HD” camcorder is the Genesis with a docked SRW1.

The 200 uses progressive frame to interlace cross conversion processing, offset ccd (to makeup for less than full HD res ccd) and sampling before recording to DVCPROHD codec.
A it too much going on to call it “True HD” in my book.

It should be “Truest” at 720 because, correct me if I’m wrong, this appears to invlove the least in camera processing.

Mike Brennan

[Gary Adcock]

[Michael Brennan] “In my book a “True HD” camera is one where the number of pixels recorded matches the SMPTE format and where the number of pixels in the camera head is the same as or greater than what is recorded (and it has a lens matched to the format).”

acquisition and compression to tape are to completely difference things, I do not disagree about the Genesis or Viper (what no D20 or Red?)

I can attach a D-5 Deck to a VariCam and capture the full 1280×720 @ 4:2:2 space, I can attach that same deck to a F900 and get 1920×1080 and capture it in 4:2:2 also (instead of the 3:1:1 HDcam records to tape)
“The top of the line Varicam records 960×720. Is Varicam True HD? No! There is no 960 x 720pixel HD format defined by SMPTE. So HDCAM format 1440×1080 pixel ain’t true HD SMPTE 274 either.”

That is not correct. You are comparing apples and oranges.
Varicam/ DVCPROHD standards conform to the SMTPE D7 and D12 specs for content acquisition.
The SMPTE 274 specs you refer to is the video stream being delivered over HDSDI and not what the cameras acquire.

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Michael Brennan]

[gary adcock] “acquisition and compression to tape are to completely difference things, I do not disagree about the Genesis or Viper (what no D20 or Red?)”
Yes they are completely differnet things but inextricibly linked in a camcorder (unless you use the HD outputs, but hewre one must be careful, since a camera like the Panasonic 400 upconverts to 1920×1080)

can attach a D-5 Deck to a VariCam and capture the full 1280×720 @ 4:2:2 space, I can attach that same deck to a F900 and get 1920×1080 and capture it in 4:2:2 also (instead of the 3:1:1 HDcam records to tape)
“The top of the line Varicam records 960×720. Is Varicam True HD? No! There is no 960 x 720pixel HD format defined by SMPTE. So HDCAM format 1440×1080 pixel ain’t true HD SMPTE 274 either.”

That is not correct. You are comparing apples and oranges.
Varicam/ DVCPROHD standards conform to the SMTPE D7 and D12 specs for content acquisition.
The SMPTE 274 specs you refer to is the video stream being delivered over HDSDI and not what the cameras acquire.”

Opps that what I was getting at, there are no SMPTE HD transmission standards for 1440×1080 or 960×720 pixels.
Even the majority of new HDTV setes have more pixels than are recorded in the cameras we’ve mentioned.
The D in HD is for definition, thats pixel grunt.

Manufacturers have spent the money and developed 1920×1080 ccds, 14bit ADs, we have the edit capability of 1920×1080 4:2:2 and the transmission standard of 1920×1080 (or 1220×720) but excluding Genesis, there is no True HD camcorder solution under $250k (Viper or D20 with Flash Pack feeding to a SRW on location would deliver).

We are poorly served by the manufacturers in this regard! and await Pansonics full spec camcorder or a SR camcorder at 10bit.

In light of the above the 200 is exceptional value, I hope to use one in New Zealand in a few weeks, in cockpit of a glider, as it appears to be the smallest highest quality camera for the job until the Iconix appears.

Panasonic are also using the phrase, “True HD Picture Quality” for the 200, a less inaccurate marketing term given the lack of standards for aesthetics.

Mike Brennan

[Toke]

I hope Panny (or someone else) will release finally 16:9 sq.pix recording format for lower price cameras.
Hvx200 could already had 1280x720p24/25/50/60@4:2:0@100Mbps, which I believe would have been optimal combination for PQ with its ccd’s and recording datarate.
Well, maybe hvx300 then…

[Accountclosedduetopolicyviolations]

[Michael Brennan] “In light of the above the 200 is exceptional value, I hope to use one in New Zealand in a few weeks, in cockpit of a glider, as it appears to be the smallest highest quality camera for the job until the Iconix appears.”

You can shoot on film using Aaton super 16 mini.

[Michael Brennan]

[jiri vrozina] “You can shoot on film using Aaton super 16 mini.”

It all gets back to using a stabilised V14 with f950 for the aerials. Its low weight gives us 12000 ft capability for 3 hours, 130 knots, with out needing to land to change mags.

22x lens with full control of polaiser, high res display to check focus and exposure and bug stikes. The stability is way beyond the film systems.

DVCRPO HD recording will intercut better with the pristine 444 recordings from the stabilised f950 than super 16mm would.

Then there are the other drawbacks of using film in this environment
Size of camera,
Need for seperate audio recorder and synch workflow
Weight of shipping kit and film
No same hour confidence replay, which is very important for unmanned cameras (how much did the sun flare into the lens? when did the bug strike happen?)
No in synch sound recording repaly on location.
Limited scope for the pilot to change mags but easier to change P2 cards. (if hard drive not ready)

So using film would offer poor production value to the producer (ie too many compromises for benifits of an extra stop in the highlights)

Mike Brennan