Infinity

[Peter Steinman]

I hate the looks of that thing. Looks like a Fischer Price toy. Video cameras should never be any color but, black in my book. Certainly not silver.

As far as I’ve read they don’t even have working cameras yet and it won’t suppport 24p when released. They are ‘hoping’ to offer 24p late next year some time. It uses JPEG2000 compression which is another wavlet thing like HDV from what I understand. That means nothing is going to be able to edit it natively for awhile.

[Ramona Howard]

I’m bitting my tongue on this one……and can only say without 24p it won’t fly…..except out the window.

Cheers,
Ramona

[Gary Adcock]

[Ramona Howard] “I’m bitting my tongue on this one……and can only say without 24p it won’t fly…..except out the window.”

yeah,
all I can think of is the time I put and Iomega Jaz disk into a drive and every disk inserted into the drive later was destroyed.
Does anyone you know have a good feeling about Iomega disk storage for a camera?

From IBC

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL

[Accountclosedduetopolicyviolations]

Personally,I think it is the best camera for money and the most logical one.
I do not have a problem with color of camera,most of PROS are using camera protective cover.
Regarding the storage,there are 2 options to choose from.
When it comes to camera blocks and digital processing,very few manufacturers can match Thomson.
Regarding the JPEG 2000 compression….it is NO HDV…it is 10bits,4:2:2 HD
and I mean HD….just read the specs.
regards-jiri vrozina

[Accountclosedduetopolicyviolations]

[gary adcock] “[Ramona Howard] “I’m bitting my tongue on this one……and can only say without 24p it won’t fly…..except out the window.””

What percentage of Your jobs You do is for Cinema Release??
Ifinity from what I understand is for ENG work.

If somebody wants to be a “filmmaker”,then they should buy proper High End Video Camera for features.
I think 720p and 1080i should cover most of jobs for high end TV shows and series including commercials.
Perhaps for features,camera like Viper “might” do the job…
jiri vrozina

[Ramona Howard]

Pretty much all of our clients are film, however we also do have a mix doing short form, heck now that I think of it our clients are all over the map.

I agree, this is not the camera for the filmmaker.

Cheers,
Ramona

[Ramona Howard]

Gary,

We have not used Iomega products for quite a while and it has never come up with any of the studios we have ever dealt with. As far as for a camera, can it even handle the uncompressed datarate needed, I think not. Compressed is a topic for another person, maybe someone will shed light on exactly what the specs are that Iomega can handle.

Every client we deal with wants uncompressed, either from a camera or off tape(even though tape is compressed) so we normally have our blinders on dealing with the many aspects of the uncompressed realm. I can say filmmakers won’t use something that won’t give them excellent results, they are comparing it to film thus it must yeild the same results for them to bless it.

Cheers,
Ramona

P.S Check out the info on our new site where we begin to cover the Varicam stuff. https://www.spectsoft.com/wiki/RaveManual/Solutions/Film

Let me know if any needs to be added or if you have any suggestions.

[Tony]

Jiri,

Based on my personal experiences here in Hollywood having worked on high end shows and commercials 1080i and 720-60p will not be suitable for these applications.

Regardless of the spacial resolution 24P is an absolute requirement.

1080i and 720/60p are reserved for non dramatic, News,Corporate,IMAG and sports programming to name a few possible applications.

There is most likely a greater market of potential broadcasters who would buy a low cost HD ENG camera than there is for a 24P niche camera. Broadcasters buy in volume versus independent filmmakers who buy one item and never come back.

Grass Valley is looking at the bigger picture to saturate the broadcast market with a low cost solution.

Eventually they may add 24P to grab the Varicam, SDX-900,HVX-200 markets.

Tony Salgado

[Ramona Howard]

Tony,

I think you hit it right on the head. I just hope we don’t have people complaining down the road because it doesn’t support something it was never intended for.

Understanding exactly what it can do from the start is very important, as is anything.

Cheers,
Ramona

[John Sharaf]

Ramona,

That’s very true; in fact it turns out that the only way so far to attach a CCU to the Infinity is by Ethernet, so it is not ideally positioned to be a “systems” camera in a multi-camera environment where one would want to use a Telecast or Evertz Fiber system; I doubt that Cat. 5 cable is robust enough for the television production environment that I am familiar with. I’ve already pointed this out to the powers-that-be at GVG and hope that “conventional” camera control will be added, at least in the “enhanced” version that will also include 24p which presumably will follow.

The announcement of this camera, with its elegent storage solution, really throws a monkey wrench into the current HD camera market; it makes anyone who is considering buying any HD camcorder pause to think. Furthermore it almost certainly renders the P2 Varicam dead in the water (by virtue of the cost of the P2 media) and casts serious doubts on the HDX’s potential longevity when it finally arrives. In addition it threatens the HD-XDCAM acceptibility by virtue of its 2/3″ imager vs. 1/2″ imager (at a similar or lesser price pont)and the propriatary nature of the Sony storage.

Understand that all this happens because Thomson has shown a balsa wood mockup and put forward a “plan” on a projected timetable; no one really knows if the Iomege REV-PRO and JPEG2000 are going to even work, and finally editing solutions remain to be seen. But I too find the concept very interesting, and I’m certain my network clients will also!

JS