[Jan Crittenden livingston]

You should contact Panasonic Service and have them look at it. http://www.panasonic.com/broadcast and click through the support section to service on your model and zip code. Something is obviously wrong.

Best,

Jan

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

[Jan Crittenden livingston]

Hi,

This one is also a resource:

https://www.panasonic.com/business/provideo/support/software_16gbp2.asp

This one was up all day, unfortunately I wasn’t sitting here to anser the call.

Best,

Jan

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

[Jan Crittenden livingston]

Hi,

Sounds like it is time to contact the service center. If you email PBTSservice@us.panasonic.com they can direct you to the right service center dependent on where you are located.

Best,

jan

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

[Jan Crittenden livingston]

Someone in Tech support did not understand what you were doing. DVCPRO HD edits in 59.94, 29.97 and 23.98, dependent on the capture. As far as the color it is always 4:2:2 in every format but DV.

I guess I got stuck on what would become a problem for the entire program if you continued to edit 30P material at 23.98.

Sorry,

Jan

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

[Jan Crittenden livingston]

Nate,

How could all of those things fint into a DV tape box? You are joking right? If not, you know my email, please use it and let me know. I am simmiering, waiting for your reply.

Thanks,

Jan

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

[Jan Crittenden livingston]

If you shot the footage at 30P, you should have had your timeline set to 29.97. Had you done that the system would not be trying to make 24 frame video out of 30 frames.

Best to go back and change this as it will continue to be a problem for one stage or another forward.

Hope this helps,

Jan

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

[Jan Crittenden livingston]

Hi,

As far as the clips being named the way they are, you could use the MetaData upload feature of the camera and then having a user clip name that is “english” and will increment everytime you stop start. You could also think about using the shot marker so that it would help you determine which clips were the better clips. Using the P2CMS would allow for much of this to become part of the pre-import workflow and you could look at the clips there and ID only those that you want to import.

Hope this helps,

Jan

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

[Jan Crittenden livingston]

It would work, but it will not look at time code.

Hope that helps,

Jan

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

[Jan Crittenden livingston]

https://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=97602&catGroupId=14569&surfModel=AJ-HDX900

All you need to do is click on the special offers link and you will be on your way.

Best,

Jan

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

[Jan Crittenden livingston]

Of anyone that knows me would say that I would naturally side on the HVX, I mean it is my baby. Frankly the 4:2:2 color space and I-Frame only recording in DVCPRO HD offers a benefit that makes editing in HD much like editing in DV.

If you really are considering the EX1 camera, I think you should take a closer look at the impact that the CMOS imager has on its pictures. It is very clear that it has a rolling shutter and that will impact your final images in a number of ways. One of the things I noticed was when I panned with the EX1 camera it seemed to have a shading issue until it came back to a full stop. This was not the only effect that the CMOS has on its image though.

The Sony camera does indeed have more resolution, but I think it isn’t always about what you start with, it is what you end with that counts. If looking at the full raster in the HQ mode, the pay load on the record side is still just 35Mbs. This quantifies into more compression to make it fit.

Also I would encourage you to look at the entire workflow as the two cameras are very different as far as the file based recording is concerned. On the HVX you can go from reviewing footage to recoding footage with the push of the record button, with the EX1, you have to wait for the camera to reboot in record mode, about 15 seconds. Also look at the meta data and what can be stored there as this will be how you go to find clips 3 years from now.

And as far as the P2 card vs the Express Card, well the P2 card is a very robust design that has been stepped on, sat on, washed, dropped in a river, a snow bank, and it just kept on working. The currently cost about the same, but the P2 card should last you through the 100,000 insertions.

I hope this helps,

Jan

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