Barry Green
Forum Replies Created
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[Brian SaenzDeViteri] “it records 100 Mbps HD to solid-state P2 cards and SD (DVCPRO50, DVCPRO or DV) to a DVCPRO tape drive,”
That part’s wrong. It records only DV to the miniDV tape drive. It’s not a DVCPRO tape drive, nor can it record DVCPRO25 or DVCPRO50 to tape.
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[Harry] “what are the storage requirements at 1080/24p?”
Rounded off, it’s about 1 minute per gigabyte.
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They haven’t specified what the rates are. However, one slide did show “variable frame rates, 4-60”, so presumably the slowest frame rate will be 4fps, and the fastest will be 60.
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The mini35 adapter for the DVX will not work on the HVX, the HVX has a bigger lens diameter.
As for the cam-driven zoom, Panasonic is promising that this will yield smoother, better manual zoom feel and response.
The focal length is 4.5 – 58.5 mm.
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Likely any streaming out the firewire port will be the full 100-megabit signal. That streaming would need to be compatible with existing streaming firewire capture devices, such as the AJ-1200HD deck, and FCP-HD and Avid Express HD.
Perhaps an external hard disk recorder would be designed with the “smarts” to drop the flagged frames, but that remains to be seen.
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[Peter DeCrescenzo] “I propose that if the AG-HVX200 is tapeless, then Panasonic should award one to Graeme. Or, if it includes a DV25 miniDV tape transport, then they should instead give one to Barry Green. Oh, wait, Barry’s already got his … 😉 “
I wish that that were true! Sorry, I’m still soldiering on with a DVX, but the HVX is on the must-have list! 🙂
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[Peter DeCrescenzo] “Now I turn things around and ask you: Why would anyone record DV25 on P2 cards __in most cases__ when it’s so much cheaper to use miniDV tapes instead? “
I would *never* record to DV tape unless I had to; if what I was shooting could be recorded to the card instead, I’d do that every time.
Several reasons:
1) insanely better workflow. The footage is pre-digitized! You can instantly (and I do mean instantly) review any clip. Need to check continuity? Was the briefcase in their right hand or left hand in that other scene? Just play it back. Need to match scenes, shadows, screen direction, etc? Just play it back. No hunting, rewinding, fast forward, rewind, play, “oops –wrong take”, fast forward again, etc… and, when doing that, how many times might someone forget to scan back to the end of the tape… in other words, how many times might someone accidentally tape over good footage, because they were reviewing other footage? I know I’ve done it, and I doubt there are many shooters who haven’t.2) Pre-roll. With the card, you can be buffering footage even before you tell the camera to roll. With tape, if you’re standing there waiting for your interviewee to get his toupee on straight, and a UFO lands behind him, you’ll have to grab your camera, stab the record button, wait for the heads to thread up, and miss the first 10 seconds or so. With recording to P2, it’s all already recorded — it’s pre-buffered. You just have to press “record” and it’ll preserve the prior 10 seconds (or whatever duration you specify… you can have it pre-buffer the entire contents of the card if you wanted!)
3) Dropouts! Dropouts dropouts dropouts. I just spent 5 days shooting in the desert, and on two of those days it was very windy. On those windy days, we were *PLAGUED* with dropouts. I’d say two or three per minute, and not just the little “sparkly” dropouts, but those big nasty venetian blind dropouts. We’d have to take the camera into a car, shut all the doors & windows, run the cleaning tape a couple of times, and then go back to shooting, where we’d get maybe 10 minutes before MORE DROPOUTS. Recording to P2, the footage would have been pristine every time.
4) Lower overall cost. Assuming you’ve already *bought* at least one card, which everyone will do, then you don’t need to re-buy tape. For commercial gigs, test shots, basically anything other than longform events, you can forget about having to buy boxes and boxes of tapes.
Now, with all that said, I totally agree with Peter, the camera *must* have DV tape to be the most viable production tool and moneymaking tool it can be. And I sincerely hope it does have it.
But for my own projects, I’m going to try never to ever use it! 😀
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[Brian SaenzDeViteri] “Anyone know how Premiere Pro 1.5 would work with this camera and the whole DVCPRO HD, DVCPRO 50, DVCPRO, and P2 issues?”
No announcement that I’ve heard yet, but by all means, go over to Adobe’s site and nag ’em. I’ve been nagging the Vegas guys to include DVCPRO-HD support. Avid and FCP and Canopus already support it natively, no reason why Premiere and Vegas shouldn’t, so definitely fill out a “product feature request” and submit it.
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Actually that’s the first official Panasonic confirmation of practically *anything*! Note it spells out three 1/3″ 16:9 CCDs, which had only been speculated before. And it spells out the firewire port, and CineGamma… sure looks like it’ll be a 16:9 DVX that can also record high-def and DVCPRO50.
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I am more confident than ever now, that it *will* have a DV tape transport.
The official Panasonic catalog page is at:
https://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=93120&catGroupId=14569&modelNo=AG-HVX200&surfModel=AG-HVX200It spells out a couple of things we suspected but hand not been confirmed: three 1/3″ 16:9 CCDs, for one thing, and definitely a firewire port for another. But it also says it records DVCPROHD/50/25 and DV. Now, while I think there’s no prayer of it having any sort of DVCPRO tape transport, the fact that they’d include both DVCPRO25 and DV seems very telling. What’s the difference between the two? Only the tape it’s recorded on (in NTSC land, that is). Which means: why would they separately spell out DVCPRO25 and also DV? I’ll bet it’s because DV will get recorded to tape, whereas DVCPRO25 will get recorded to P2.
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Get the most from your DVX camera. The DVX Book and DVX DVD are now available at https://www.dvxuser.com/articles/dvxbook/ and at Amazon (https://tinyurl.com/54u4a)