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But is a HPX3700 Varicam “shovel ready?” for making money?
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Thanks for all the posts regarding my first post on this subject. If Sony would step up to the plate and offer a 30K trade in on their XDCAM PDW F800 for all their old Betacam cameras and Digibeta cameras, I would be the first in line to buy one. Could you just imagine all the cameras that would be sold and used that could be the next viable money making format for a few years. Lets rattle the cage at Sony and get their attention!! I’m ready to buy a new 2/3 inch camera that can make some money.
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Wow John, you hit all the right points…. very well laid out.
Erich Roland
http://www.dc-camera.com
HD camera rentals, Washington DC
(and Cameraman) -
Thanks, Erich.
Of course, we’ve already bonded in earlier threads on many of the same issues. Love ya too, man.I think this is funny, but I’m not sure how to read it:
“I think Panasonic should have shown an empty box at NAB with their logo and a 35mm lens mounted to it, “Price to be Determined”, “Delivery to be Determined”, just to give potential RED camera buyers pause.”
I would think quite a few Red owners would have peed their pants a little had they seen something like that at NAB.
Am I the only one here that thinks Panasonic could wipe the convention floor with a product like that? Of course, there’s still that P2 issue…
I dunno…for now, maybe I’ll just hang a Nano on my HDX and spit.
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
I think all Panasonic has to do is use the same sensor as their GH1 SLR camera, combine it with AVC Intra, sell it for under $15K, and they’d have something.
Regarding P2 cameras not being good choices for documentary work, as long as their is a chance to do transfers at the end of a shoot day,
they can be viable. Five 64Gb P2 cards at 1080/24PN using AVC Intra 50 would record for over 13 hours. This would still provide quality as good or better than XDCAM 422 and a 500Gb hard drive costs less than 500Gb worth of XDCAM discs.AVC Intra 100 is superior to any 8 bit codec, and would still yield over six hours of recording time at 1080/24PN. The new P2 E series card should allow for faster transfer speeds, if the computer hardware doesn’t create a bottleneck. Other than the cost of hard drives, there is no extra post cost when using P2 cards, unlike XDCAM 422.
I do agree that discs are better for archival than tape or hard drives. Of course footage could still be transferred to disc in post for archival.
Jeff Regan
Shooting Star Video
http://www.ssv.com -
Regarding P2 cameras not being good choices for documentary work, as long as their is a chance to do transfers at the end of a shoot day,
Yep thats the big sticking point..as far as I see it… down loading in the field is often impossible.. so its a back at the hotel thing.But few camera people want to do this at the the end of the ever increasing daily hrs! we also tried and prone to make mistakes.. and its not our job either. Iam all for having a cam asist but those days are also few and far between these days if it involves their rate ,extra airfares ,hotels etc.
One of the first things to go when video came in!Until a P2 card can be treated as a tape or disc,meaning priced the same or close..I cant see it working?
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Yes, transferring 6, 8 or more hours of footage at the end of a long shoot day is not my idea of a good time either. Local PA? These young kids are good with computers!
Jeff Regan
Shooting Star Video
http://www.ssv.com -
You must how some very laid back directors 🙂 but most wouldnt trust their master piece to a local PA… !!! and the far flung destinations they dont exist anyway.
Its another hurdle… you can get people to help lump the box,s around etc.. but to be responsible for everything you,ve shot is another deal completely.You want someone you know and really trust.. as you would a loader on film.. where you,re only going to lose 10mins on an opened mag.,let alone hrs of stuff.
If Panasonic make a huge loss on the cards,then I think P2 would rule the world deservedly so.. as it is yes I agree … drama/cheaper features/ad,s … nice controlled environment P2 is great.
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“I think all Panasonic has to do is use the same sensor as their GH1 SLR camera, combine it with AVC Intra, sell it for under $15K, and they’d have something.”
Exactly, Jeff.
And add in cinegamma and scene files, because in the little world I work in, I almost always have to do a look in-camera…most budgets don’t allow for a colorist or grading after the fact. The files need to be ready-to-edit, with attached audio, right out of the camera. I would love to have a larger chip for use with primes, but still have the option to downrez in the camera, change lens mounts (ala Scarlet) and throw a 2/3″ zoom on for run and gun work.
Imagine all that in a camera that goes from tripod to shoulder with a click…what a concept.That would be a truly flexible system, and probably the only camera I would ever need. $15K sounds a tad optimistic, but I would gladly pay at least twice that for something that versatile. I might even deal with P2 for that…
Who could pull it off?
Canon would be the obvious choice to turn out a product like this, but it would be all plastic and look funky…and they’d screw it up with a bad viewfinder and weird dials, somehow.
Panasonic would be the best choice, but probably won’t because their camera scientists don’t seem to listen to anybody in the field, sales or marketing, especially here in the states.
Sony could easily do it, but they’d slap a gold cinealta badge on it and charge over a hundred grand for it.
It would be a wonderful opportunity for Ikegami to get back in the game…but sadly, like Elvis, they’ve left the building.
Maybe the Ray-Ban people are working on something…
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
I hear Canon is going to be offering a large sensor based camcorder, maybe the 5D sensor? It will be prosumer level, codec will probably AVC HD, but it will be interesting to see what it looks like. If aimed at prosumers, it will need sophisticated auto focus with facial recognition–full frame 35mm can have pretty shallow DOF!
I agree that a large sensor camera with real camera type of processing such as gamma, knee, hard clip, matrix, detail circuits would be great vs. a post-production camera like RED ONE. 1920X1080 resolution is fine with me, 4K is an answer to a question I didn’t ask. Ergonomics of an ENG camera would be great, and of course, good audio vs. needing double system sound.
Panasonic can and should build something like this and soon!
Jeff Regan
Shooting Star Video
http://www.ssv.com -
[Jeff Regan] “transferring 6, 8 or more hours of footage at the end of a long shoot day is not my idea of a good time either. Local PA? These young kids are good with computers! “
Not in my world.
IF you OK letting the lowest paid person on the set handle your digital master? I would never trust my my work to some intern or PA just because it was easier. How many posts have you seen here on the cow that demonstrate how poorly some people treat their content.
gary adcock
Studio37
HD & Film Consultation
Post and Production WorkflowsCheck out
https://www.aja.com/kiprotour/Inside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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