[Galen Yeo]

Jan

I am curioous what are the numbers of DVX users to HVX P2 users? And the number of DVCPro 50 / HD users to HPX P2 users? The question is why we are not among the latter group. I have no doubt there are people who are using P2 for long form, but having read less than favourable reviews for the workflow and spoken to users, we know the camera doesn’t address our workflow needs. Unfortunately, there isn’t an industry poll, and I believe that many purchasing decisions that go beyond this issue. Would I use P2 for a controlled dramatic or commercial shoot? Absolutely. For a single shooter run and gun situation in a war zone? Unlikely. After we moved on from 16 mm cameras, HD video was a godsend.

These issues have more to do with how cameramen need to function and less to do with the quality of the P2 card or codec, which are excellent. DVCPro HD is a great codec. I think Pana has done a great job and I stand by their cameras. But until transfer speeds increase exponentially and bigger media become available, it’s going to be hard for us. Dealing with XDCam is actually less of an issue. It’s not the perfect codec but it works well enough. As a user, I do wish we didn’t have to choose between so many formats, which is why we welcome development on universal media like SD HC.

Thank you.

GY

[Galen Yeo]

Hi Jan

Thanks. Always appreciate Panasonic’s tried and true responses.

As a long form user who owns DVCPro and DVCPro HD cameras – on tape – we have no intention of going the P2 route. It simply does not work for the factual / reality work that we do. Am heartened by the SD HC route. Would prefer to keep using Panasonic, but at the crossroads that we’re facing, we have to look at Sony again, simply for the expansive capability it offers in comparison. If things can scale up on the SD HC side, I foresee that would definitely work for us and many other users. We would be able to stick with Panasonic in a heartbeat. The look of the Panasonic camera has long been favoured by many cameramen and that is the key issue. But ultimately, a faster workflow is equally important. Am puzzled as to how and why Panasonic has not understood the needs of long form users with regards to P2. That’s been a key block for us, and I suspect many other people. You gain in some areas, but you lose in others. I understand the technology but I feel that Sony in that regard, has offered a better option for long form users.

Best regards

GY

[Galen Yeo]

I’m not sure why people are getting confused.

There are two aspects that I am looking at: 1080p and 1080i.

Assuming that I am shooting the same frame rate for the above – regardless of whether progressive or interlaced – my question was: what were the differences. I believe I have it roughly answered as:

1080p = sharper resolution / higher data rate / superior format

In editing both 1080i and 1080p material on the timeline, I will probably have to convert one or the other to match up.

I believe Michael has answered the question on 24p for the Panasonic camera. See here for specs:
https://eww.pavc.panasonic.co.jp/pro-av/sales_o/02products/products/aj-hdx900/aj-hdx900.html

[Galen Yeo]

Hi John

I am aware of that. I understand the Sony vs. Pana difference. What I want to ascertain is the difference between 1080p and 1080i capture and post. 1080p is technically a higher data rate in post and has more information than its 1080i counterpart. I’ve been told that shooting in two modes will look different. I haven’t at this stage been able to test it. Is this a potentially ugly situation? Thanks

[Galen Yeo]

Hi Michael,

Some material is being shot I assume on a Sony HDCam 900 in 1080p/24p.

However, we may need to pick up material on a different camera – a Panasonic HDX900 which only shoots 1080i/24p. The issues are whether there will be (a) differences in the final product or (b) hiccups in post if cross conversions or transcoding are needed.

If the visuals are essentially the same – then I’m not too worried. I understand that there might be motion artefacting in this situation.

Thanks

[Galen Yeo]

Nick

The Sony Cinealta and Panasonic HDX 900 cameras do 1080i and 24p. I’m not sure what you mean.

They do this: 1080/23.98p (over 59.94i)

[Galen Yeo]

Hi Craig

Thanks. What I meant is: we are still shooting in 24p no matter what. The issue is how shooting 24p in 1080i vs. 1080p affects things.

thanks

g yeo

[Galen Yeo]

it works. you just need to power down and up. we’re running on avid 5.7x….works fine as both downconvert and as dvcpro hd and dvcpro 50. Sorry I can’t give you more details here because my team members are the ones working on it, but they tell me it works.

[Galen Yeo]

Thanks Gary.

[Galen Yeo]

downconversion via firewire works fine but it did take us a while to make it work – you need to power down and up.

ditto for avid ingest – you need to restart the deck and maybe even the application for the detection.

we had no problems with it. using avid xpress pro 5.7.