George
Forum Replies Created
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I had the same problem. Removing the black magic codec from the /library/quicktime folder where all the QT codecs solves the issue if you have it there.
using the native Apple Compressed Coded thereafter..
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You should set the camera to 24p advanced which will give you the proper pull down for film out (2:3:3:2).
In Final Cut Pro you can set the project for 24p advanced and that way the camera and time lines are in sync.
You will not see and stutter in the video.Read the FCP doc or help menu on how exactly to setup the 24 PA presets.
If you are planning on a fim out. then make sure you spend time with the film house DuArt in NY is good.
Explain the project. they can do short film out tests to make sure everything works before you send the whole thing to them.Also cost is an issue. you are looking at 5 figures to get a feature length film out.
– Regards,
George -
how about a 720p CCD camera? that certainly is accurate..
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This whole issue likely has nothing to do with a technical spec nor a real trade secret. A more likely explanation is that Panasonic wants the camera to compete in both markets. Its a Marketing Idea!
the 1080 camp (sony,canon)
the 720 camp (jvc, panasonic)The new 1080 “Scanning Camp” (panasonic)
By calling the spec as 1080p scanning (without mention of the true CCD resolution) you are describing what the A/D conversion does as an output not really as an analog input as Graeme so accurately mentioned.
So I guess by using the new marketing tom foolery panasonic has created, here’s whats possible.
A Sony Z1 with some pixie dust burned in to the A/D converter (even though its a 1/3 Sony 1080 x 1440 HAD chip) I am sampling into my FinalCut Pro easy setup or onto a Firestore Drive array QT 4K preset at full 4K digital resolution. I now have a 4K HD Camera! Watch out Dalsa and Viper. Your 90mm CMOS has nothing on us!
A HVX200 with still more pixie dust burned into the A/D converter (even though its a 1/3 720p CCD) can now sample to 70mm / 15 perf IMAX resolution. But it can only record 1 frame of footage on two 8 GB cards. We now have the first Panasonic Digital IMAX camera.
You can see from a marketing (not a technology) standpoint Panasonics slight of hand works wonders.
Shh! Just don’t tell anyone (public) the truth. the hvx is actually a 720p camera!
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Jan –
If you cannot disclose the true spec for competitive or other reasons thats fine and understandable. But you really should talk to your marketing people. The comment on the product PDF from Panasonic says, “1080p scanning” thats misleading or a play on words at best. A true statment might be “1080p hardware upconversion”.
Most of the vendors that do not want to release S/N ratios or other tech specs usually say: NA or Not Available.
They don’t claim the spec to be something it is are not!
BTW the P2 technology is a major step forward for us all. Also the camera tests (shootouts) that are currently underway now will show performance reasonably well.
– Thanks.
George -
I think the technical data is important. If theres a project where I need to deliver 720p/60 then I can be pretty comfortable with using varicam or hvx (again knowing what the native resolution is) . Kind of like using a video monitor thats 200 lines of resolution to color correct and edit 1080psf. You would not do it. You would likely demand an lcd with over 800 lines or a high end BVM 900-1000 lines of resolution for the job.
If I have a film out project with lots of compositing and blue screen I’d like a camera with 1080p or higher CMOS (dalsa, viper etc) for the job and to ensure I had enough resolution, probably want to make sure the color space spec for the camera was also at least 4:2:2 or 4:4:4.
If the project is a 1080i/60 broadcast, generally the tool of choice may be a camera with 1080 x 1440 CCD like an ENG type camera. again confident that the right tool for the job is being selected.
For a direct to SD-DVD project. Yeah I know to use something like the SDX-800 with 2/3 inch chips and at least DVCPRO 50 codec (520k pixels).
If none of the vendors tell me what the camera specs are then I probably need to test every camera in my budget to see which one works in the above scenarios. a huge waste of time and money.
From what I know now. Its safe to say that the HVX-200 is not a good choice for any project requiring a 1080i/p deliverable. simply because it cannot natively capture at the target resolution. I’d get better results from the Sony FX/Z1 cameras for that type of work. But for fast action sports or stuff like that, sure the HVX would be a better choice as long as the deliverable is not 1080.
Pixel count does not tell the whole story either. Both the varicam and hvx are comparable from a pixel count. but the 2/3 ccd on the varicam and better glass translate into an image without chromatic abberation and without the noise introduced by the 1/3 ccd.
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because it is a primary performance indicator and measure of an expensive product.
because every pro camera on the market provides this data to evaluate their product.
because panasonic provides this as a major technical measure on every other pro camera product. -
Different horses for different courses perhaps, But I have a serious ethics issue with a technology vendor that will not honestly state a key and common performance specification for a product when all products in this class provide it for comparitive and technical analysis of the product. That’s unacceptable to me.
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thats just plain odd. like buying a car and Toyota not telling you if its a inline 4 or v8 engine you are getting.
this may be worth opening the camera to get to the truth.
I have to say that the more I learn or in this case don’t learn about this camera the less I like it.
Its starting to remind me of that old TV News Show “The Fleecing of America”.Except we are being fleeced by panasonic.japan
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“The camera captures the native DVCPROHD codec in both 720p and 1080- but your frame size is not correct. The 4:2:2 1080 DVCPROHD codec is actually 1280x 1080. not the HDV size of 1440×1080 @ 4:2:0 that you quote”
Gary – I was referring to the HDV capured at 1080 x 1440 then converted to 720p DVCPRO 100.
In that case some of my footage originated from the FX1 looked better or as good as the
HVX footage.