[Jeff Merritt]

Hello Ray,

Glad to see you’re coming to the VariCamp in Burbank. I look forward to seeing you there.

We have shipped VariCams around the country dozens of times in hard cases and have had no problem. Just consider it a suitcase and check it but be sure to put tie-wraps on it. Eventhough TSA may open it up, it’s worth the chance. Again, we’ve never had a problem or a lost camera.

Good luck. See you at the VariCamp.

Happy New Year to you and everyone on the COW.

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

Gerry and All,

Thanks for your post. You took the words right out of my mouth, almost. One exception is the AJ-HD1200A only records with a 9 micron track width thus doubling the record time of the 18 micron track. In both cased, the tape runs at exactly the same speed. The SP and LP mode is an option in the menu to force the machine to read only 9 or 18 micron on playback, not record.

The general rule of thumb is both the AJ-HD1200A and AJ-HD1700 will play back both 9 and 18 micron tapes such as recorded in the VariCam and record only 9 micron. Also, remeber the new AJ-HDX400, 1080i Camcorder records at 9 micron.

The older and discontinued AJ-HD150 and AJ-HD130DC machines record and play only 18 micron. You might think of the AJ-HD150 and AJ-HD130DC as ideal machines for mastering and dubbing for delivery as tapes from these machines will play in any other DVCPRO HD machine.

Hope this helps everyone’s understanding as it has been confusing in the past.

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

Hi John,

I have read your post many times and do not understand your position. I must say however that our Panasonic policy is to treat each of our Authorized Resellers fairly and equal particularly as it concerns pricing. Please be aware that under U.S. federal law, we are not allowed to set prices for the products they sell. To do so would be called “restraint of trade” or price fixing and it is quite illegal in the U.S. That is why you often see “MSRP” which means Manufacturer Suggested Retail Price. Again, we do not set the Resellers’ prices, they do so based on their own individual business models.

Thank you for your input and should you want more dialogue on this topic, please contact me offline at merrittj@us.panasonic.com.

Regards,

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

Jennifer asks a really good question, as to why is Panasonic selling decks for so much less in Japan then in the U.S.? To answer that, let’s consider what you are paying for when you purchase a deck from an Authorized reseller. First is the obvious warranty. If anything goes wrong under normal circumstances during the first year from date of purchase, it will be fixed at no cost to you and as quickly as possible. We don’t send the machines back to the factory. Second is the piece of mind that Panasonic North America, known as PNA, will be around for a long, long time to back up the product. And third, we have a small number of very qualified/authorized resellers who also back up the products with customer service and advise that can be counted on. This is not to say that in Japan you get less value than in the U.S. But in this case we really don’t know where these decks are coming from or even if they’re new.

Another aspect of pricing is the value of the dollar against the yen. Right now the dollar is particularly strong. But just a few years ago the dollar was very weak. However you’ll notice that even with the up and down ratio, the price of the AJ-HD1200A is the same today as when it was introduced almost two years ago. We strive to keep our prices as constant as possible in fairness to our customers.

Please remember in this case, Panasonic is NOT selling the deck, an Un-Authorized reseller is.

I said in my last posting, “Buyer beware”. I should also add, “You get what you pay for”. Every reseller is entitled to make a certain profit and part of that profit goes into the value you receive as a customer. Let’s hope that in the case of purchases from an un-authorized reseller, that profit doesn’t come completely at your expense with no other value added.

Regards,

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

All,

There is a perfectly good reason why these products are called “Gray Market” as we’re never sure where they come from or the conditions in which they have been shipped or stored. In addition, you are not likely to see a “UL” label affixed to the unit which might bring about liability questions, particularly when used in a commercial environment such as TV or network facilities. Using Non-UL approved devises in a home might have serious consequences with insurance companies should a fire develope.

Apart from all that, Panasonic in America will not warranty these products which will mean the purchaser is on their own to get a machine fixed if something goes wrong. Replacement parts may also be an issue as they would have to be purchased at full retail price if they are even available for a foreign model. You should also note that there is likely no warranty card that is applicable in the USA included. There are very strict warranty laws in the USA.

How do you know if a product like the VariCam or AJ-HD1200A is not from Panasonic America?

One of the first tip-offs is the XLR audio connectors are reversed in gender if imported from Japan. A second thing to look for is the included operations manual is in a foreign language, usually Japanese, although an English copy might have been downloaded from our Panasonic USA web site and stuffed in the box, in which case you’ll notice the box has been opened and closed. And, the acutual model number of the product sold and distributed by Panasonic America ends with the letter “P” such as AJ-HDC27HP or AJ-HD1200AP. (note we at Panasonic America do not use this final letter designation in promotional and ordering information) And buy the way, in America, we keep track of serial numbers that go through our warehouse and distribution.

Finally, if the price of a product is too good to be true, it usually is. Therefore, purchasing at below the usual price is a good indication that something is wrong.

Panasonic America prides itself in qualifying resellers of our professional products to know they will not only represent our products well, but will stand by their customers with service and support. In addition, Panasonic America stands by our authorized resellers with service and support as well. Those companies that sell foreign versions of our professional products like DVCPRO and DVCPRO HD for example, do so without any authorization or support from Panasonic America. Purchasers of products from these companies do so at their own risk.

Buyer beware.

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

Steven,

Thank you for your input. First of all, I’m not comfortable with the ideas the either Panasonic or Apple is “at fault”. I can not speak for Apple as to their ability to support 25p over firewire, but the decks, both the AJ-HD1200A and AJ-HD1700 support down converted 625 PAL from a tape recorded at 720/25p when outputting via SDI. It is correct that there is no support in either deck for 625 PAL over IEEE 1394 from a tape shot at 25fps and converted. Since there is no “PAL HD”, the only option is down converted 625 PAL (also known as 567i)when using the optional AJ-YA120A board in the HD1200A but is included in the HD1700.

This idea of shooting for PAL is actually quit simple if you know and understand the technical rules. It’s done all the time. Just accept that there may be additional costs involved depending on your workflow in post.

Thanks,

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

Hi folks,

The entire issue of shooting PAL is much more that just shooting 25fps. And to that point, there is no PAL version of the VariCam because, like a film camera, the VariCam can acquire images at either 25 fps of 50fps. But “PAL” means a lot more that 25fps. PAL has a lot to do with a different color space and exactly how color is derived from the image process that is different than NTSC.

For example, if you shoot the VariCam at 25.00fps and playback in the AJ-HD1200A or AJ-HD1700 VTR and set the VTR to even frame rate, then the tape will playback and give you a down converted 625 PAL output with the correct color space. Dubbing this output to a PAL SD compatible VTR will yield the same picture as an expensive NTSC to PAL conversion. But remember to shoot at 25.00fps.

There are many VariCam shooters in Europe right now acquiring content for the upcoming Torino Olympics. They are acquiring at 25fps. But unfortunately as many have figured out, FCP HD does not currently support 720p/25 eventhough it has been adopted as the transmission standard for HD in Europe.

There is another alternative and that is to use a Panasonic D5-HD for mastering in 720p/24/100. In this scenerio, just like film transfers, shoot at 24p, master to D5-HD, and playback the D5 Master at 25fps and the internal down converted signal will be 625 PAL. Admittedly, the speed will be faster by about 4% and pitch change correction will be necessay in post, but the results will be agreeable in both continents. Of course the opposite can be accomplished by shooting at 25fps, master to D5-HD and slow it down to 24fps. By the way, in either case, the time code will convert as well in either the DVCPRO HD machines or the D5-HD.

In short, VariCam is very popular in PAL countries and the transistion to NTSC is an easy one today thanks to the new designs of VTRs.

Good shooting,

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

Hi,

First you are in good company by mastering to D5-HD as you will eliminate any generational loss. Recording back to a D5 AJ-HD3700B is in real time. Also the format will be what ever you want it to be. That is, if you want 720p, then set the D5 for that format. You will not be able to record your finished product back in 1080p24 unless you can make that format conversion prior to recording to the D5. 1080i is another possibility but again you’ll need to make the format conversion prior to the D5.

Hope this helps.

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

Shane and all,

The AJ-HD1700 DVCPRO HD Studio VTR does not have firewire capability. If you want that you will need the AJ-HD1200A with the IEEE 1394 option board. Otherwise you’ll need the HD-SDI option board for the HD1200A and I’d suggest one of the HD Video cards for the MAC such as the KONA II.

As for frame rate conversion, if you “go the FCP route” you will not need the AJ-FRC27 Frame Rate Converter. Instead, down load the FRC software free from the Panasonic Web Site for the AJ-HD1200A into your MAC and you should be good to go. Also be sure you have the latest software version of FCP HD on your MAC.

I’m not quite sure why you need to do an offline in SD when the MAC is quite capable of doing that plus the online in HD. That’s one of the great things about the marriage of the DVCPRO HD and Final Cut Pro HD. Just be sure you ingest only the “flagged frames” so you don’t overload the drive memory. There are plenty of other posts on this site that addresses that issue.

Good luck on your project and we’d be happy to hear how it comes out.

Regards

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676

[Jeff Merritt]

Hi John,

On the “H” version of the VariCam we introduced a new circuit that has an optional audio delay so it’s possible that audio and video will be in sync or not. And yes, the “H” version also consumes a little more power than the “F” version.

Thanks,

Jeff Merritt
Product Line Business Manager
High Definition Products
Panasonic Broadcast
323-436-3676