Gary Taylor
Forum Replies Created
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That would be interesting. In most of the cameras I am familiar the DSP processes the image in the RGB 4:4:4 colorspace to maximize the detail available to the processor. Only then is the footage downsampled to 4:2:2. I still wouldn’t be surprised if this were more an issue of market segmentation vs it being a technical challenge.
Certainly not saying the camera isn’t going to be great. It will be the picture that will tell and I am expecting big things from this little camera. This was important for me because there is a local rental shop with a CineAlta that doesn’t have HD-SDI out. I was hoping to refine this workflow with the HVX-200, and along the way it would have been great to occasionally maximize the quality available with this camera too.
Gary -
Hello guys,
I am glad to hear such glowing reviews of the BT-LH900. Have you all had great results with both 1080/720 resolutions? I was concerned it’s small size would make it more difficult to detect focus problems. I do like the waveform, and DC power but I was little nervous about getting it. What do you guys love about it?
Gary -
Hi there,
The issue is most professional SD and HD cameras with analog outputs allow you to output a 4:4:4 signal as well as the normal 4:2:2 component output. This is normally switched on the cameras internal menus. This isn’t normally a big deal because the in a 3 chip camera the DSP is almost aways working with an uncompressed RGB signal. The manufacturer just gives us a way to get this output instead of the standard video signal.A 4:4:4 signal is greatly superior to 4:4:4 when chromakeying because if the increased color detail. When working with hardware keyers it has been common to use the 4:4:4 output from the camera to maximize quality. Such a device would then output the composited 4:2:2 video.
Up until this very point there have been almost no affordable 4:4:4 capture solutions. However this likely to change soon with products like the Decklink Multibridge and other yet to be announced products providing the possibity of 4:4:4 captures from analog sources.
Obviously this is overkill for almost every project and would require a computer with a VERY fast array. But for that especially challenging key it could make all the difference in the world. The ability to capture in 4:4:4 is is one of the main strengths of HDCAM SR. Of course I wouldn’t expect to get the same results but I can’t afford HDCAM SR either. It is always great to have options. Still I have have high expecations for the HVX-200.
Gary -
Hi Robb,
BH&H will gladly take you money now as an advance purchase right now. Run that by your accountant.
Gary -
Hi Jan,
Thanks for the clear answer; it is much appreciated. I realize that this might be thought of as a semipro camera but I think that would be a great feature in a updated version of the camera. Would be another great way to differetiate it from the HDV cameras as a truly pro camera.
Gary -
Hi Chris,
Is that Pansonic with the Waveform functionality. If so have you had a chance to try it out? That seems like a great value add. Do you know how the monitor looks with 1080i/1080p footage?
Thanks,
Gary -
Interesting note on the barefeats site about the new Quad macs. If that bears out with more testing it takes some of the shine off the Quad. If the initial reports are true then hopefully Apple will release an update for the pro apps to make them aware of all 4 processors. But it does make that dual 2.7 you are talking about look better Walter.
Gary -
The short answer is it depends upon which software package you are talking about and how the system is configured. You might want to check out http://www.barefeats.com. They have spent alot of time benchmarking all the different G5s. From what I remembered the new 2.3s were about the speed of the previous 2.5s.
Gary -
Hi Tom,
It looks like that unit supports RAID 6 and RAID 60. Did you give any thought the implementing one of these? I am wondering if the ASIC would compensate for the overhead for RAID 6 writes.
Thanks,
Gary -
As the proud owner of an HDV camera I have to generally agree with what you are saying Jerry. In many challenging situations I have gotten worse results with my HDV than I would have gotten in the past with a broadcast 2/3 inch SD camera. You just have to be so careful with lighting and focus as I am sure you have seen with your students. I think the inexperience with Anyone who thinks a Z1 is anywhere near as flexible as a Varicam or 950 needs to have their head examined.
Having said that, under very controlled circumstances I have seen some stuff done with these cameras that is amazing. Of course those circumstances don’t happen accidently, but for music videos and other studio projects these cameras have some possibilies.
I also think it is unfair for us to judge future cameras by the current ones available. The new Canon HDV camera has a detachable Canon lense andHD-SDI out and that opens a whole range of possibilities including much easier uncompressed captures. In time I wouldn’t be surprised to see Canon release some prime lens but of course that is just a guess. And of course with the right capture hardware (KonaLH) the same is possible with almost all of the current generation of HDV cameras. Some people who have done this with the Kona cards have reported beautiful images. Obviously this limits the portability of your camera but it should blow away what is possible with HDV tape. I think this quality is the reason Sony still doesn’t talk much about the analog outputs of the HDV cameras being pre-compression.
On the issue of DVD I have also heard the best results come from downconverted footage. When I get my Kona LHe I plan to do a bunch of tests with its real time downconversion. I think being able to convert the footage to 4:2:2 should give better results in Compressor.
Nobody with any sense says these cameras are anywhere near the equal of the Varicam or 950. That doesn’t mean that certain producers can’t get great results with careful planning.
Gary