[Jan Crittenden livingston]

Hi,

This isn’t possible. The firmware that is the Linux part of the camera that makes all of the pperations possible is not user accessable.

Sounds like an effect you could do in After Effects though.

Best of Luck,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi,

The size of the HDD is really going to be determined by the size of your cards. The camera will set up and partition the HDD into 15 parts. Each part will hold one card.

If the drive was formated into two partitions earlier by a computer, it could be that the camera is confused. The Drive should be a smaller 1394 drive and format it with the camera.

Hope that helps,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Could you just sort according to Time Code, that should get you there.

Best,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

[B.J. Ahlen] “Ummm, depends on what you mean by “better”. DVCPRO-HD at 100Mbps compresses more heavily than XDCAM at 35Mbps.
How? Because the long GOP is far more space efficient.”

If the 8 bit signal starts at 994 mbs and one algoritm delivers individual frames and a payload of 100mbs, and the other offers Groups of pictures so that your resolution is not frame independent and a payload of 35mbs, the 35mbs has more compression. You can put whatever marketing spin to
this you want, the 35mbs has more compression. It is more efficient, sure, but maybe that shouldn’t be the priority when capturing the master footage.

[B.J. Ahlen] “DVCPRO-HD is also limited in resolution. It maxes out at 1280×1080, while XDCAM EX as noted is a full raster codec at 1920×1080. .”

You are also mistaken here. These numbers are based on the pre-filter intelligently applied to the signal prior to compression. If you look at the XDCAM HD signal coming from the 355 Sony camera the recorded footprint is 1440 X 1080. This also due to the pre-filter. Manufacturers apply this pre-filter to get rid of frequencies and details that are problematic for the algorithm. With almost 40% more signal, 1920 X 1080 XDCAM EX, vs the XDCAM HD 1440 X 1080, it still has to fit in a 35mbs payload. Numbers are easy to understand but if you don’t understand why they are what they are it can lead to the misinterpretation of the number. Add this to the fact that the DVCPRO HD codec applies the compression an an imdependent frame basis, each frame is resolution independent unlike HDV, or XDCAM HD, or EX.

Best,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

It is possible that you installed the drivers in the wrong order. I think the right order is to install the Adapter, then with P2 card in the Adapter, install the P2 drivers.

If this is what you did, then (scratching head) it has to be something else.

Perhaps you could rent the P2 Drive instead of purchase?

Best,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

[Rich Rubasch] “Might seem so at first glance, but what do we do when we get 720p 23.98 clips form a P2 camera and we have to use it in a 29.97 SD project? Sure would be handy to have that tape for digitizing.”

I would say wait until the time comes that you need to do that. Then if you really need 20 clips for later, throw them all on a single time line and send them out to tape. Or a file and then import the file as the flavor du jour.

If you post your question in the P2 forum you might get a more lively reaction to th e question about going to P2. But for starters, when you start the import process, from the minute that you get the first clip in the bin you can start editing. You don’t have to wait for the batch capture to finish. This is a huge time saver.

All the best,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

[Jeremy Cummings] “Ok, I believe some of you are seriously misled. The EX1 is the only camera to go with out of the options given. Panasonic’s HD camera’s sensor is just that above a SD sensor. That’s right! Their sensor is so crappy, it shouldn’t even be called HD. The only way they were getting away with selling their cams is off of the rep of the DVX and it’s color space. .”

Excuse me but you are just so outstandingly wrong in your assessment of the HVX. You are going strictly with the exact pixel count and discounting the effect of the spatial offset. Including the spatial offset, the pixel count moves to about 1.1 million pixels. The rep that the HVX has earned has been because of the pictures it makes and frankly the tone of your post makes you sound a little like a Sony troll.

[Jeremy Cummings] “I’ve seen direct comparisons of the Panasonic and the EX1 and it is so unbelievable that people actually used blown up downgraded HD images for so long. I’ve been shooting on FX1’s, V1U’s and Z1U’s and all of these cameras are horrible as well when stacked to the EX1. .”

So have a good number of people on the list and it really depends on the subject matter. If you are recording still images, I would say yes the Sony is sharper but in this business images have a nasty habit, they move, and the more motion and the more detail in the picture, the more the XDCAM codec has to surrender some of that resolution. It is not what you make it is what you keep! The difference between an I-frame codec and a long GOP codec is huge when it comes to the sacrifices that the codec makes. In an Intra-frame codec the sacrifice is limited to the individual frames, thus making it frame independent resolution. With Long GOP codecs it will affect the entire GOP.

[Jeremy Cummings] “First off, the image sensor is actually 3 1/2 inch true 1920 x 1080 p sensors. That kills everything in it’s class, even the Canons. .”

Keep in mind it still has the same payload as the bigger brother the 355, which prefilters(for a reason)to 1440 X 1080. The EX has almost 40% more data to get into that same payload, this means more compression and more compression artifacts.

[Jeremy Cummings] “Everything else is 1/3 or 1/4 inch less than 1440×1080. The image is then up resd to 1440×1080. Panasonic has the lowest resolution out of all of them. .”

It is not just about resolution my friend. It is about the pictures that it makes. If you look at the monitor and you like it, resolution doesn’t matter. In fact more resolution can make it look very cold and artificial. But camera decsions should be made not by comparing resolution charts but rather by looking at what you want to record with them. Then compare the recordings.

[Jeremy Cummings] “To wrap up, trust me, you do not want anything to do with Panasonic. They are the cheap bastards in this scenario and they just use cheap tricks to get you to buy their gear. The ex1 was created to compete with the red cam sales and in my opinion, they are doing a great job. .”

And I take real exception to this language. This is why I think you must be a Sony Troll. The Sony camera couldn’t touch the Red if its life depended on it. The DVCPRO HD codec that drives the HVX200 was designed for the high end of the production industry and up until the time of the introduction of the HVX the only camera that had it was the Varicam at +$60,000. The “cheap tricks” you mention is that we took that professional codec and put it into a $6000 camera. We could do that because we had designed P2 to be able to record any data rate we needed.

There are a number of things that, over all, make the P2 HD solution a more robust and future oriented decision. The first starts with the implementation of just how the camera works. It can do the single steps of recording, as can the Sony, but the Sony cannot do loop record nor pre-record. Nor can it go from playback of clips (multiple clips) to record in under 2 seconds. It has to be turned off before it can reboot to record (14 seconds.) And Metadat, well don’t even get me started there.

There are lots of differences between the two cameras and I steadfastly believe that for the price differential premium that you will pay for the Sony camera it will not be worth it in the long run. Heck their second gen of solid state cameras aren’t even the SxS cards but rather CF. Okay, so is SxS just a one trick pony media. In contrast to P2 we have 2 SD cameras, and 4 HD cameras, and 4 other devices that you can use for playback or transfer. We have standardized on a PCMCIA Card Bus II device that is tried and true and made it virtually indestructible (although I suppose if you wanted to you could.) What we have established is a path, a system with a codec that is absolutely compatible with its brethren on a tape based format. This is called engineering with the customer in mind, how do we help the customer take their previous investments and help them capitalize on them.

Your take is so off the wall here. I suggest that if you are going to post again that you post with real facts instead of emotional and inflammatory remarks. You have posted twice on this forum, and I don’t see why you have bothered with this one.

Best regards,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

[James Cordell] “So does that mean that no other versions were made for other Panasonic cameras? It says your with Panasonic but but you might know the answer anyway. Does that mean there is a far chance that other brands don’t even have any kind of adapter? .”

That is exactly what I am talking about. There is not another Panasonic camera made that has this feature(adapter), our other DVCPRO50 camera that had four channels of audio, actually had more inputs on the body, that would have been the AJ-SDX900.

[James Cordell] “Is there some other way that I am overlooking to get four channels of audio into a new camcorder (HDX900 or XDCAM HD) other than an external mixer or recorder. And if using a external mixer, how do you even send the four seperate channels to the camera if the mixer most likely just has two outputs. Gahh these seems so confusing for some reason. I don’t get how other shows do this. Are most shows that need more than two people mic’d using a external sound recorder? Thank you for the information on the model we have, that is good to know.”

On the HDX900, you could put 2 mics into a break out from the stereo mic input, a 3rd mic into one of the back inputs and the 4th has to go in via the wireless pocket receiver area. This was the same with the SDX900 standard def camera.

You cannot get there with the mixer idea. Short of using the HDX900 as above, a slaved audio multitrack recorder would have to do.

Best,

jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi,

The Adapter allows for two addional mics to be plugged in and controlled. Keep in mind that not only does the adapter have to work but there has to exist within the camera a channel for the audio from the adapter to make it into the recording. So just having one of these doesn’t get you there, Having one of these and a camera designed to work with it does.

Hope that helps,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi,

That 4 channel adapter was made by Panasonic to work with that camcorder. You might think that it was easy to make, but I don’t believe that is true as it took almost a year from the time we knew the factory was going to make it to the time it was delivered. Anyhow so that is why you can’t find them as we made it for that camera.

Hope this helps,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems