Jeff Regan
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In 1080, HDCAM subsamples horizontal resolution to 1440, DVCPRO HD to 1280. The latter is a 3/4 subsample, using rectangular pixels, HDCAM also uses rectanguler pixels. HDCAM runs at 135Mbps, using 7:1 compression, 3:1:1 color space, DVCPRO HD runs at 100Mbps(less at Native frame rate modes), 6.7:1 compression, 4:2:2 color space.
The new XDCAM 4:2:2 format runs at 50Mbps, 4:2:2 color space, Long GOP frame structure, full horizontal sampling with square pixels, 8-bit, like HDCAM and DVCPRO HD.
AVC-Intra 100 runs at 100Mbps(but actually lower for most frame rates since it is a progressive, Native codec), 4:2:2 color space, I-Frame structure, full horizontal sampling with square pixels, 10-bit depth, giving it 4X the quality of 8-bit formats as far as shades of gray.
The native 720P CCD’s found in the HDX900, Varicam 27H, HPX2000 and HPX2700 have a very nice look and I find them to be virtually indistinguishable compared to a full raster CCD chipset, with the advantage of better sensitivity(comparing HPX2700 to HPX3700, as an example). This is live out of the 10-bit HD SDI output, once recorded on DVCPRO HD, it’s really hard to see any difference, or even AVC-Intra 100. To get the most out of a full raster camera, the lens quality has to be excellent, beyond that of most HD ENG zooms.
Jeff Regan
Shooting Star Video
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Cinelike V gamma will give more contrast. You can always bring up Chroma Level for more saturation. Lower master ped for a richer, more saturated look as well. It all depends on how much grading and color correction you plan to do in post. I shoot Cinelike D most often with HPX170 and HDX900 and add contrast and saturation in post. You can warm by white balancing with a colder white reference or use Color Temp control.
Recommend Coring at +2 or higher, no matter what detail level to keep noise under control.
Jeff Regan
Shooting Star Video
http://www.ssv.com -
Kent,
32Gb P2 E series cards are $600 ea. 64Gb E cards are available for $925. The bit rate for AVC-Intra is 100Mbps in non-Native modes, as well as for DVCPRO HD. However, what really makes the 300 exemplary is the AVC-Intra 100 codec which is a Native codec for all frame rates except 1080/60i. That means that you get 2.5X more record time in 720/24PN, Native modes in 1080, 10-bit depth, which is 4X better than DVCPRO HD due to 1024 shades of gray vs. 256. It uses square pixels, full sample, instead of rectangular 3/4 sub-sampling pixels found in DVCPRO HD(1280 vs. 960 or 1920 vs 1280).
AVC-Intra is twice as efficient as most MPEG2 codecs, has Intra-Frame vs. Long GOP frame structure found in XDCAM EX, and 4:2:2 color space. P2 cards are used around the world for news and are very durable and reliable–proven since 2004. To get a 10-bit codec in a one-piece camera for the price of an HPX300 is pretty amazing.
Full disclosure, we rent the EX1, HPX170 and HPX2700. The EX1 is quiet and fast, not as fast as the 2700, but it’s codec is not in the same league as AVC-Intra 100.
Jeff Regan
Shooting Star Video
https://www.ssv.com -
You should be able to shoot 1080/23.98 over 1080/60i for both the 2700 and 170 in DVCPRO HD. Personally, I would shoot 720/23.98P Native on both cameras. No having to deal with extra frames for pulldown, and 2.5X more record time per P2 card.
The best quality would be to use AVC-Intra 100 on the 2700’s, but that would put the 170 at more of a disadvantage. The nice thing about Intra, besides quality, is Native modes in 1080 as well as 720, unlike DVCPRO HD.
Jeff Regan
Shooting Star Video
https://www.ssv.com -
If you’re talking about a camera body, then the HPX2700 would be the most bang for the buck. If you need the lens and viewfinder to be included, as well as P2 cards, in the $20K, then you’d be looking at HPX500/300 cameras. A good in between solution could be a used HPX2000, preferably one with an AVC-Intra card installed.
Jeff Regan
Shooting Star Video
https://www.ssv.comJeff Regan
Shooting Star Video
http://www.ssv.com -
Haven’t noticed white shading errors with 1/3″ cameras as much as 2/3″. Even if an issue, I don’t know of any 1/3″ cameras that offer manual or auto white shading anyway.
Make sure you run the ground glass speed at max, 99, if an Ultimate.
Don’t use shutter speeds above 1/500th. Be very careful about dust on the various elements, including between the achromat and the adapter rear element.Jeff Regan
Shooting Star Video
https://www.ssv.comJeff Regan
Shooting Star Video
http://www.ssv.com -
I own two Letus Ultimate 35mm adapters as well as the Letus B4 Pro 2/3″ relay lens. I use the adapters on our HPX170, EX1 and HPX2700 and many other cameras belonging to clients. I have found that they are very sharp edge to edge, comparing favorably to the P+S Pro35.
I would say that light loss is closer to a full stop. If possible, it is best to have the rental house build the rig for you, do the back focus, and if using a 2/3″ camera and relay lens, a white shading file needs to be done for the Letus system(as you would with a Pro35).
Jeff Regan
Shooting Star Video
https://www.ssv.comJeff Regan
Shooting Star Video
http://www.ssv.com -
There’s more to a codec than bit rate. By the way, when shooting 720/24P Native mode in DVCPRO HD or AVC-Intra 100, the bit rate is only 40Mbps, not 100Mbps. What AVC-Intra offers is 10-bit color depth, 4:2:2 color space, and I-Frame structure. Much better for editing, grading and color correction than any consumer delivery format.
Blu Ray is a delivery media using codecs that are often well under 36Mbps, 8-bit, 4:2:0, Long GOP–not what you want for an acquisition format, given a choice, compared to AVC-Intra 100.
Jeff Regan
Shooting Star Video
https://www.ssv.comJeff Regan
Shooting Star Video
http://www.ssv.com -
You could buy two HPX2700’s for the price of a PDW800. You could buy a standard def. camera and a 2700 and still save a lot of money over an 800.
Personally, I think 10-bit codecs will become more prevalent in television production for commercials and episodic work. Basically where HDCAM SR is being used now–not just for feature films. AVC-Intra offers four times the quality of any 8-bit codec as far as tonality. It even gives an extra stop of latitude due to low noise with an HPX2700 or 3700.
Jeff Regan
Shooting Star Video
https://www.ssv.comJeff Regan
Shooting Star Video
http://www.ssv.com -
Just got back from Varicamp in Burbank. It was an excellent hands on seminar. A couple of participants had just come from the Maine workshop as well.
I highly recommend Varicamp in order to get the most out of the Classic Varicam, HPX2700 and 3700 P2 Varicams. Well worth the time and cost, IMO. It was taught by a DP and DIT, so it was practical information, not lab theory.
Jeff Regan
Shooting Star Video
https://www.ssv.comJeff Regan
Shooting Star Video
http://www.ssv.com