[Jan Crittenden livingston]

Hi Ron,

We are talking two different things, now that I see this. What they are discussing is that under Unity, that the original clips will have the metadata and they can work with that as part of asset management.

What i was saying was that in the Canopus product even within the edited program material, the metadata followed, so that in the timeline I can find the metadat that was entered at the time of capture or with in the P2 viewer operation. That info traveled with it into the edit and out again.

And frankly this is not saying anything bad about the Avid, it works like virtually every other NLE sytem out there.

Hope that helps clarify what I was saying.

Best,

jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

I was in Gary’s Tapeless Seminar and in the Avid Users Group meeting.
😉

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Toke Lahti:
So if camera would have full resolution chips (same amount of pixels on a chip than in produced picture), there’s no need or use or benefit from pixel shifting.

Actually in a 1/3″ CCD if you had a pixel for pixel match on the CCD to the format, there would be so much aliasing and noise you would have to filter it all off. And of course the lens couldn’t handle it either, and low light would suffer and I don’t even want to talk about dynamic range. The chip is an analog device in CCDs, CMOS is a different technology altogether and is sort of a half breed between as each pixel sends out info, which is why a dead pixel on a CMOS is not a good thing.

And BTW, most CCD cameras that I am aware of use some form of offset technology. Most just don’t talk about it.

>Since hvx200 does use horizontal pixel shifting and it produces a picture with max 1280 horizontal pixels, there must be fewer horizontal pixels on a ccd chip.

Well Toke, your inside info is not info. A subsample is just that a subsample and means very little to the outcome if indeed the playback is 1080 X 1920. Sub sampling is part of the compression scheme. If we take the picture of the Z1 and put it up against the HVX, we find that the two cameras are very comparable in resolution on a resolution chart. So how does that fit in with your theory here? Now I understand that you have not seen this for yourself but in time you will.

>So, I guess it has 960×1080 chips, same as fx1/z1, so it also can’t be much more sensitive than those sony hdv’s.

And frankly here you are again, the low light on the HVX is beter as is the dynamic range.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi,

>An Avid guy called me on the carpet about that and pointed me to a PDF from Avid that seems to indicate that the XML metadata from P2 is encorporated into the Avid Media Manager. Did I get some distinction wrong?

So would you please forward this pdf or at least the link to me, as it seems somewhat counter to what our experience has been and maybe it is a fraction of what we have there as far as the amount of data that is available vs what they store. None the less i would like to explore this idea further.

Thanks,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hey Toke,

I was wrong. It is as I said to Ron, and BTW, in one week they could not do hundreds of cameras on a first run.

And the reason is we are having a press event, and it is that press event where we need to have something to say. So as much as everyone would like to get the full low down, it will not happen until it is supposed to and that is the opening day of DV Expo.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

The interpretation done by Babelfish is interesting. It is a 1080P/60 capture and it is down converted from there. The chip is an analog device and should always be regarded as such.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi Rodrigo,

Those two shutter speeds are within the synchro scan speeds, just as they are in the DVX100 series.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi Brian,

The DV File Converter Pro does this MXF to whatever conversion. And it does it very well. Right now it is working on DV25, but advances are in the works.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

If it were my blog, I wouldn’t be here.

Tosh has been up less that a month or so and already the first place on the web that showed the actual variable frame rates was on http://www.defperception.com.

Best,

jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi Jiri,

The lens is a very nice HD quality Leica lens. It is a 13X 4.2-55mm lens. The DSP is 14 bit and there is a section that is 19 bit. Still trying to break that down into understandable terms.

There is a press event that is the opening day of DVExpo and that will likely be the day that we will post footage and final brochure goes on line.

Hope that helps,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems