Jeremiah Black
Forum Replies Created
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Jan,
Could you please be more specific in answer Peter’s point? I’m not sure I fully understand your response. If the lowest cost HD lens is around $10,000, and even that lens sucks poopy (poopie?), then what kind of lens can the $6000 HVX-200 possibly have on it? If it’s not a “true HD” lens, then what is it? I’m going to assume that it’s going to be great, because the lens on the DVX-100a was one of the best fixed lenses I’ve ever used on an inexpensive, prosumer camera. But, Peter’s point is pretty good. Everyone’s been chiming in on the cost of “true Hd” lenses and how impractical removable lenses are for an HD camera and everyone that suggests it is a fool, and so forth. But if Panasonic can afford to put a great lens (I’m assuming) on a $6000 HD camera, then (1) the lens can’t have cost too terribly much to manufacture, and (2) wouldn’t sell for too terribly much if purchased separately.
These questions are about the HVX-200, which obviously is a design that was locked long ago. (Thank God, by the way. I wouldn’t wait any longer for it than I already am!) But they are simply about “what’s possible” and, by extension, what might be possible in the coming year(s).
Once again, your presense on this board is invaluable, and is one of the top reason why people like myself are intensely brand loyal to Panasonic.
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
What I really, really want that’s been missing from all prosumer cameras is a decent wide. Even the “wide” adapters by century optics are really only about a 35 mm equivalent- not someting I’d call wide.
What I really need is a lens (or adapter in the HVX’s case) that yield something closer to, say a 12mm equivalent. But since I’ve never seen these, maybe they’re not possible? Don’t really know enough to say, but maybe someone can chime in here and lend a hand.
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
[Noah Kadner] “I find it a little odd seeing someone shooting on an XL2 with a $7,000 P+S and $10,000 lenses. For the same exact rental money or less they could have used an off-the-shelf HD camera with way better results”
People do that with DV, because tons of money gets saved in post (and rentals) by shooting DV instead of HD. Also, nobody buys a P+S, they rent.
Noah, I understand your point that dumping too much money into DV is a waste, but it does make sense in certain situations. I’ve seen many music videos shot on DV with the P+S that look great, and were made relatively very cheap.
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
As has been stated, small chips are the very reason why this camera is costing $6000 (well, that and a fixed lens). The last time I was at a trade show here in NYC, I spoke to Panasonic and was told that they are planning P2 versions of the varicam, so we can all look forward to that. Actually, I was told a “direct to disk” version, but I took that to mean P2.
At the very least, thinking about a P2 varicam will help get some of the more disturbing pseudo-Oedipal images that Ron’s post has put into my head. All the overtime billing my therapist gets this month, I’m forwarding to you, Mr. Lindeboom.
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
Luke,
So just to make everything clear (I’m pretty darn dense)….
1) You cannot capture 720p 24fps DVCPROHD with the decklink.
2) You cannot playback 720p 24fps DVCPROHD with the decklink to a monitor.3) So, if I capture DVCPROHD 720p/ 24fps footage from the firewire deck, capturing it natively with the DVCPROHD codec. I will NOT be able to monitor it on my HD monitor using the Decklink HD Pro card either thorugh the SDI outputs or the analogue conponent outputs?
4) If the previous 3 items are true, are there plans to support it in the future?
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
[Jan Crittenden Livingston] “However removal of the 24P will cause some quality loss.”
Yeah, this is technically true. But, the real question is “can I notice it?”. And on uncompressed footage the answer I’ve found is “I can’t really notice it.” Whereas on dv footage the answer is “I really, really notice it.”
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
I’ve found after effects very good in this regard. Whether it’s a standard WWSSW pulldown or a SWWWS pulldown, I’ve found After Effects removes it pretty well. I’ve also never been disapointed by DVFilm Maker. There’s no options to select, but somehow it gets it right. Maybe there’s an internal “guess pulldown” function. Dunno, but it’s worked for me.
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
[Graeme Nattress] “3:2 pulldown is standard and looks good, but is designed for viewing, not removal”
Very true. I only really HAD to do it once under the deadline gun on a job. I had a 720×480 DV timeline and I had to mix in a little 720×486 SD b-roll. When I dropped it in the timeline, obviously I got a render bar, but it rendered like juddery garbage because the timeline was 720×480 not 486. So, I needed to remove the 6 extra scanlines on the SD footage, but the SD footage had a 3:2 pulldown. Couldn’t do it cleanly and without judder (because of the two interlaced frames), so I had to remove the pulldown, then crop the 6 scanlines in AE, then re-introduce the pulldown, and then take it form there. So I captured it as 10 bit uncompressed (it was beta Sp footage), and did it, and it came out great.
There was some other time I had to remove a 3:2 pulldown before, but I don’t remeber it as well. It was something about mixing with animation that was created at 23.98.
Ummm, I guess I’m rambling, but yeah. 3:2 pulldown- great for viewing. Don’t remove unless you must.
Graeme,
Interesting idea about 24pA looking better than regular 24p. I’d like to try a side by side test on 24pA vs the 3:2 pulldown.
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
[Peter DeCrescenzo] “So, at least in regards to this client (who accounts for a good percentage of my income), the Sony DSR-450WS with its funky 24p standard 2:3 pulldown feature may be OK. If I understand what Graeme & Jan have indicated in this thread, Sony’s dumb*ss method of handling 24p doesn’t result in quality loss in an uncompressed editing environment”
To be fair, I wouldn’t call a 3:2 pulldown “dumbass”. It’s pretty much standard. Now, I’d call Sony’s totally faux 24p more on the Z1U “dumbass” as well as a few other names I can’t use on the boards. And I’d call Panasonic’s 24pA 2:3:3:2 pulldown “pretty damn cool”.
Also, Graeme and Jan are right. I never did it via SDI, but I did capture some DVX-100 footage uncompressed via analogue conponent outs. Then removing the pull down with an application like DvFilm Maker didn’t put the footage through the wash visually.
i wish I has some experience with the AJ-SPX800 or AJ-SPC700 to relate, but I’ve never even seen one.
Good luck with your client! I hope you get the green light to grab hold of cool new toys.
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card -
My experiece isn’t vast by any means, but as far as SD goes, I’ve dealt with the Sony DSR-250, 300, 500, all mini dv cameras, the SDX-900, and whatever that big beta studio camera that they shoot those MTV “host” shows is. And I think the SDX-900 with a good lens looks the best of any footage I’ve worked with.
jeremiah black
dual 2 gig G5
2.5 gigs of RAM
Decklink Extreme capture card