Jan Crittenden livingston
Forum Replies Created
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Hi,
Is this a new camera or a used one? This is not something that would be impacted by the reset. The reset will reset all of the menus back to the factory preset. So you can try it and see if it works, but you will lose all the settings that you might like in your menus, so note those before you do this. However, I can’t think of a single menu that would cause the zoom to activate itself. Sounds more like a pinched ribbon cable, not an expensive repair, or if it is a new camera, certainly a warranty repair.
Hope this helps,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
Hi,
Look on page 10 of that PDF. See the picture that says Record On/Off, and just below it where it says Type1/Type2? Those two choices will cause the metadata to increment. Having the clip be called Scene1, was part of the upload that I created in P2CMS. I knew that once I loaded the file the camera would increment the last number so I called the clip name Scene1_T and the camera filled in the rest.
Now if you have an HPX170 you could put this data in from the camera but on the 200 series you have to preload with the P2CMS.
I hope this helps,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
Hi,
Step by step directions are in the Metadata Workflow paper. Download at http://www.panasonic.com/p2hd look for the whitepapers in the P2HD Resources area.
Best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[James Mulryan] “The fact that Panasonic never provided a firewire based card reader because of their bias towards pc format machines is a shame.”
That would be called the AJ-PCD20, Firewire 800 as one of its connections.
Best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[Jeff Brown] “Take this with a grain of salt: Jan is a Panasonic employee, after all. I do love Panny gear, but good long GOP will be better than bad intraframe. Shouldn’t be hard to imagine that. May not be the case in current product offerings, but such a sweeping statement just won’t hold in all cases.”
Actually I can prove it in all cases, if the camera is moving. I am a product manager at Panasonic and it is part of my job to understand the impact of compression of the output of a signal. I have been a party to many compression breaking tests and I have seen them all fail, but the ones that fail first are the long GOP codecs.
And BTW, the question was adressed to me(notice the title of the thread) in the first place and since I am familiar with both of these cameras, I responded as I see the two cameras working and fitting into the scheme of what is out there. The DVCPRO HD codec will be more robust that the long GOP of AVCHD, and AVCHD is more robust than HDV. Even Sony says this, they equate 9mbs level of AVCHD to HDV. So yes while I am a Panasonic employee, I do try to give the most honest answer that 35 years in this industry can muster.
Thanks,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
Hi,
[Christopher Wright] “My main questions are:
are the 1/3″ chips the same on both cameras? ..”Yes.
[Christopher Wright] “does the AG-HMC150 have the same improved low lux performance as the HVX-200A and the HPX-170 (better than the old HVX-200)? ..”
Yes.[Christopher Wright] “Is the lens exactly the same as the one on the HPX? ..”
Yes.
[Christopher Wright] “What is the quality of your AVC to DVCPROHD software transcoder for Windows? ..”
There is no such thing as a free lunch. Once you have compressed to even 21mbs, you have given ingformation away. Is it better thatn HDV, sure, is it as good as DVCPRO? No.
[Christopher Wright] “Does the 720P24Pn Intraframe QT codec play well with the P2 QT 720p24Pn codec in FCP (in a 720P24pn timeline), or is it better/preferred to transcode to DVCPROHD first (your free Panny software now only available on Windows?)? ..”
You will need to transcode in order to have an easy time of it and not degrade the signal eveven more in the edit process.
[Christopher Wright] “Does the audio record at 48 or 32kz?? ..”
Compressed.
[Christopher Wright] “Is it actually better at motion shots than either the HVX or HPX? ..”
No way. Intraframe recording will always be better than interframe long GOP.
[Christopher Wright] “If all of this is true, it might make an ideal B-roll camera for my HVX, and a lot less expensive than the HPX..”
I would advise to go with the HPX.
Best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[Jon Davidson] “What is the point of buying this supposedly “HD” camera if it simply uses pixel-shifting of an SD chip to create the illusion of HD? I have heard pixel-shifting and “interpreting” HD derided from many sources as no substitute for true HD. So what is the point of even buying it in that case? I had hoped to buy a camera to get work shooting independent films.”
Hi,
First it is not an illusion of HD that the 500 creates, it is HD. The people that deride the pixel shift(spatial offset) are the ones that don’t use it and think that you should put all your money on the cameras with higher native resolution chips and forget about the fact that the codec in those cameras work in long GOP recording schemes. It isn’t all about the native imager, it most appropriately summed up by saying it is not what you make it is what you keep that makes the difference. Video recording is a sum of the parts that take part in making the signal. The guys that diss the spatial offset, want you to think that if you start with the high count imager you will have higher count images and that is not always true. It is a sum of the parts, the type of imager, the size of the imager, the codec used and the glass. And not necessarily in that order.
The benefit of using a 2/3″ imager over 1/2″ images that have higher resolution is that you have better dynamic range and better low light sensitivity. A 2/3″ 1.1 million pixel imager is expensive, and you would find those in the new Varicam, the HPX2700, or the HPX2000. And for the record,those cameras also use spatial offset for much the same reason that it is use in the 500, it adds resolution.
In the case of the HPX500, a less expensive CCD can be used and with the spatial offset we can add to the native resolution of the chip. This can be proven and anyone that discounts the benefit of the spatial offset is just uninformed. You can get a very nice image from the HPX500 that is very competitive with the XDCAM cameras and the codec will be an intra-frame codec, DVCPRO HD, which means that each frame is compressed independently of the next, unlike the XDCAM codecs. The point is that you can buy a camera that does a very nice job for around $20,000(with lens and all.) For comparison the AJ-HPX2000 with its native imager of 1.1 million pixels starts with the camera body at $27,000 or so and then you will need to add a nice piece of glass and a viewfinder to that, so you will end up spending around $45,000.
Hope this helps,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[Douglas Spotted Eagle] “So yes….I can say that the Sony Creative Software people have said they’d sign an NDA, and that they’d like to support DVCProHD natively in Vegas.”
But that is not Japan, as I said in my earlier post.
[Douglas Spotted Eagle] “From my perspective, I can only assume that it’s a similar situation to when Panasonic misrepresented the image sensor of the HVX. In other words, it’s made-up scenario. Do we need to re-hash that one, too?”
There has not been a misreprenstation on the imager that I am aware, perhaps on interpretation there has been misunderstanding. But since this forum does not host pictures, it is hard to argue.
[Douglas Spotted Eagle] “It’s not a spin issue, it is what it is. I suspect most folks are smart enough to realize that.”
Clearly it is not a spin issue but you posed it as that. “Panasonic not allowing…”
[Douglas Spotted Eagle] “Raylight is a good alternative, so it’s probably best to quit trying to put lipstick on the pig and pass responsibility from Panasonic to Sony, wouldn’t you agree?”
No, actually it is just time to put it to rest. There is a solution, it works. Done.
Best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[Douglas Spotted Eagle] “Sans Raylight, you must use Cineform or other converter. Panasonic has made it very clear they’ll never allow Sony users to have access to P2 via Sony software. Search these forums, you’ll find several threads on the subject.”
I mean seriously Douglas, you make it sound so sinister. Why not ask Sony if they are interested in putting native support for DVCPRO HD on their product and whetther they would be willing to sign an NDA? And I do not mean the guys at Vegas, I mean the guys that would have to sign back in Japan.
It is a two-way street. Raylight is a happy solution for the folks that wish to stay on Vegas.
Best,
jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[Richard Herd] “Sorry to get pedantic, but…just to be absolutely clear. The AG-HVX200 is not actually native 16:9. It is native 4:3 with a pixel aspect ratio of 1.33.”
Well not be be in your face but it is a 16:9 CCD and not $:3 as you propose.
[Richard Herd] ” The actual frame size is 960×720 (960/720=1.33 aspect ratio) and the pixel aspect ratio is also 1.33, so 1.33*1.33=~1.77 (16:9). This matters when making comps in other software, like After Effects or using Photoshop to make titles or Illustrator to make graphics”
Actually you are talking about the codec and not the CCD at all and it is the pre-filtered size in the compression engine that you are referencing as 960X720. This is the recorded footprint.
Hoping that helps clarify.
Best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems