[Brian FitzGerald]

That is correct. It is a “fixed lens” system – I don’t know about the PD150 but assume you do.

Thanks. That is what I wanted to know.

I would appreciate an answer to this follow up question regarding practical use… After editing a spot in FCP (in DVCPro50) will I be able to load it back into my HVX200 P2 memory so that I can then output the spot to the BetaSP machine?

Also, my question about the relative qualitative differences between DSR250 DVCAM & HVX200 DVCPRO50 was not intended for subjective response. I am alluding to the known differences between the 4:1:1 & 4:2:2 sampling and potential differences between their digital to analog transfer. I figure the lens for the 200 is probably a bit better than the 250 if for nothing more than it’s direct zoom and focus mechanism. Also, I have a “feeling” that the way Panasonic talks up their Leica lens every time they discuss the 200 indicates to me that they put more money into it than Sony did the 250’s lens.
I suppose at some point everything in the visual image business could be described as subjective, I am just hoping someone has seen output from the HVX200 AND from a DSR250 and could make a comment. I will take it for what it is…
Frankly, from a tip I received in this forum I already saw a persuasive test on the web that showed a definite qualitative difference between DV(CAM) and DVCPro50 imaging so I think I already have my answer.

I’m 95% committed to buying this HVX200 but since I have not found one available yet (and I refuse to put down deposits for ANY equipment of any type) I have been left twiddling my thumbs. Panasonic needs to start delivering before I get wind of THE NEXT BIG THING and decide to wait another 6 to 9 months like I have already for this 200…

Thanks for your time.

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

I bought Matte Blast a month or so ago after folks in these parts suggested it. It works great and I am still using DVCAM @ 4:1:1 for my field acquisition (soon to buy an HVX-200 @ 4:2:2).
Since some consider keying imposible with 4:1:1 (not true), I’m here to tell you it works great.
You do need to be careful as always about minimizing spill but I am almost amazed at how good Matte Blast works.

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

I dl’ed it and think you did a great job. Thanks for the template.
What is is used for, though? Lower 3rd countdowns?

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

I don’t have time to go through your whole list but I have owned the Sennheiser Evolution G2 100 Series for about 2 years and like it a lot. You need to check on their website for the list of frequencies that potentially interfere. Once you locate that you just set your’s on an open freq and everything is fine. If you don’t do that you will think the mike is junk….

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

I have the same problem with intermittant frequency but at least it doesn’t crash. Just now I am wondering if there is a correlation with any programs I might be running in the background – I’ll be checking that.

When it gets stuck in the loop I just keep hitting the space bar about every 3 seconds and it finally stops.

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

thanks

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

You said:

“In AE you can take 2 eps files and it reads all the vector points in each file and morphs the two from one to the other”

I know this is a little off the forum subject but since you brought it up I was not aware that you can morph with eps files in AE. I don’t see how. Can you elaborate?

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

I have read all the responses to this so far and they are correct in what they say about compression but do not provide you a solution.
You can key DV with Motion.
An earlier thread of this type in this forum regarding this same question provided the solution.
Go to dvGarage and buy/try their new dvMatteBlast.
I bought it and it works very well.

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

I wasn’t at the Expo but I really, really feel your pain.
Ever since 16 x 9 hit the scene (and now HD) it ASTOUNDS me how poorly the public, but more particularly the video SALES community, displays/perceives this new technology. I cannot get over going into Best Buy or Ultimate Electronics and seeing absolutely pixelated, distorted crap displayed on these $12,000 TV sets (well ok, they are getting ‘down’ to only $3,000 now) and trying to sell it to people as “high definition”. I mean in my studio I’m staring at a 2 year old analog Sony Trinitron monitor many hours a week doing my SD TV editing and most of the time my signal from a DVCAM camera is far better than what they are trying to sell people HD on.
Another thing… People just can’t get it in their head that you DON’T want to stretch a 3:4 image horizontally to fit the 16:9… For some reason horizontal letterboxing in a 3:4 set is OK but they cannot conceive of putting the black bars on the left and right. They think it is good to use that whole “wide screen” regardless of the OBVIOUS distortion. Talk about the old joke of TV adding 15 pounds to your physique! This horizontal stretch phenomenon is like adding 30 pounds and then going to the side show and looking at yourself in the crazy mirrors. You see it in all the “sports bars” because for the most part they are not pumping “true” 16:9 SD or HD so they stretch the 3:4 stuff to fill the frame. It looks horrible and NOBODY SEEMS TO NOTICE. I have sat at business lunches (with TV media Reps by the way) and commented to the “professional TV people” at the table how distorted the TV pix are on the screens we are looking at and I get looks of almost total incomprehension. Believe me, you don’t want to try to explain how “SD TV is 3:4 and it does not naturally fit in a 16:9” by drawing on a napkin or using toothpicks or whatever… They just don’t get it. Sure, they aren’t “tech” people but they make their living selling airtime and don’t even realize what they are seeing…
To be charitable, non-professional people do say stuff like “I don’t see what the big deal is about this HDTV… It doesn’t look any better to me” so I think they have an inkling that something is amiss but they just can’t wrap their brains around what it is.
I was at a client’s house 2 days ago because he wanted to show his wife and family a spot we had just finished and he is real proud of his new $5,000+ plasma HD TV DVD VHS TiVO, etc. rig… So, he starts showing me all these “digital” channels that Cox is flogging and the signals from one network to the next are WILDLY different in resolution (if I can use that word). Then – horrors – he takes the VHS I brought to his store (the one that we always look at on a little 13″ SDTV) – and sticks it into this tower of machines he got from Ultimate Electronics. Not only was it stretched horizontally but due to some mysterious signal processing that has me baffled still the colors available went down to about 256 (like the old computer monitors) and “real people” looked like cartoons or rotoscopes. My jaw has dropped in stunned silence but nobody else in the room seemed to notice. I mean it was kind of a “cool effect” but really not what I was going for… But, hey, ‘Momma didn’t raise no fool’ so I just keep my mouth shut (23 years in the biz teaches you a few things…), played along and everybody likes it. They are just arguing over the way the baby grand daughter closes out the spot.

In closing, (and most of the kidding aside) I think there is something deep going on here that has to do with basic perception. I have thought about it for many years. I won’t go into it any more here but suffice to say “We All Don’t See Things The Same Way” (and this is only tangentially concerning TV…)

Now that’s a rant… (lucky for you, you only got a small fraction of it…)

Brian FitzGerald
FitzVideo.com

[Brian FitzGerald]

Yeah but they are wanting $50,000 for A TV SET! Let’s get real.

Brian FitzGerald
FitzVideo.com