John Cummings
Forum Replies Created
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[Jeremy Garchow] “And another thing, here’s the thread from earlier last year that I found where I did some math for Mr. Cummings on tape vs P2 for a big project he was working on:
” target=”_blank”>https://forums.creativecow.net/readpost/120/859344″
And I thought Tim said you always stay on topic.
Not sure what the point is Jeremy, but please don’t get me going on THAT issue again! Were you one of those kids that stuck the stick through the fence just to tease the poor dog?
Anyway, I will tell you that we’re nearly at the halfway point in that project right now, and I’m perfectly happy to be shooting tape on it…which also allows me to have dinner and cocktails with the rest of the crew at the end of the day.
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
[Jeremy Garchow] “How will the 3000 be an underperforming camera?”
When I said under-performing, I meant that if he were to wait for a “new and improved” single Varicam, and added it to his inventory, it would probably cannibilize is HPX-3000 rentals.
[Jeremy Garchow] “For comparison, is Sony’s product line easier to discern?”
Sony has similar issues with their product line, not to mention the fact that they’ve diluted the Cine Alta brand by slapping it on a prosumer camera. But I would look to the PDW-700 as to what’s possible in a feature set right now, especially at at that price point. That 700, with the addition of varible frame rates, would be a mid-priced category killer for Sony. Panasonic had the opportunity put it all together for their Varicam owners and fumbled the ball by splitting the line. I wouldn’t be surprised at all if Sony has a nasty surprise for Panasonic at this level at NAB. A PDW upgrade or an SxS 2/3″ Cine Alta extension would be a natural for Sony.
[Jeremy Garchow] “To be fair, Panasonic had been clear about this for a while now.”
Yes, Varicam owners knew a P2 varient would come. Its just that many are still sore over loss of work to the much less expensive HDX (at similar rates)and then get clobbered with having to choose between two hobbled new Varicams. They want THE full feature set in one Varicam to differentiate themselves from the less expensive HDX and PDW’s. It’s easy to underestimate how loyal the Varicam owners are. I think Panasonic did just that. Faced with being made to choose between two competing models, I think many will just wait for the next generation…if they don’t jump ship before.
[Jeremy Garchow] “Going from tape to tapeless is where the real argument lies with the old and the new Varicams.”
I disagree. We all know tape is in it’s last chapter. When it comes to choosing a Varicam replacement, it’s not only which Varicam, but do I really want P2 at this point?
[Jeremy Garchow] “Sorry to have offended you.”
You didn’t offend me. I thought you were being chippy with somebody else.
[Jeremy Garchow] “What’s your advice to Erich?”
Sit tight.
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
Well Erich, if these editors would have bothered to check out your website, they would have had a better idea of where you’re coming from…as an operator AND a rental house.
Unfairly or not, many producers equate native 1080i field acquisition as being a higher quality than 720, even though most would never be able to tell the difference in quality between an upconverted 720p and 1080i picture in a finished product. That’s been the bane of Varicam (tape) owners ever since the HDX came onto the scene…which we all know is ironic considering the HDX is internally uprezzed from 720 anyway.
The tape-based Varicam owners/renters like Erich are now faced with a dilemma…they now have Varicams that are suddenly worth a fraction of what they paid for them. On top of that, Panasonic has muddied the upgrade path with two competing models that are both compromises due to the chip sizes and the frame rate issue. Add to that Panasonic’s advanced compression schemes are unfortunately wrapped in an outdated form factor.
I don’t think it’s unreasonable to take Panasonic to task for releasing their “flagship” camera before it was ready for primetime. In my view, if Panny couldn’t figure out the overheating issue with the full raster chips…if indeed that’s what the problem is…they probably should have waited to release the Varicam until the engineers had a solution to that problem.
When they do come up with a fix for that issue…and they probably will soon…the HPX-3000 (another camera Erich owns) will no longer be as relevant in the product lineup, and Erich will potentially have yet another under-performing Panasonic asset in his inventory.
We all invest in this gear with an expectation of getting a decent return on it over a period of years. That has been tough enough in this quickly changing environment. I think the point is Panasonic isn’t making it any easier on their customers.
Do I think he makes a valid argument? Yes, and I think many others feel the same way.
Do I think he was out of line or “trolling”? Certainly not, and the suggestion that he was and the not-so-vaguely condescending tone in the responses he received here was unfortunate. Erich knows his gear…and his marketplace…very well.
Yes, we all know Panasonic is an advertiser here, and their reps are kind enough to participate in the discussions. I would hope that doesn’t preclude us from having open, honest and reasoned discussions without fear of being electronically pilloried by the moderators…even if they don’t always know what they’re talking about.
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
Sanken CMS-10.
Beautiful sound, small size, switchable to mono. Also came with a nice rycote cover.
At about $2K it’s not cheap, but I’ve been very happy with it.
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
Well, Brett didn’t mention what frame rate he was shooting in, so I don’t know if it’s the same issue. I’ve dealt with shutter issues shooting under fluorescents that usually show up as shifting colors, but this seemed like an entirely different issue with the rolling band…so is it a cmos artifact or simply a shutter fix?
It’s also weird that it happens under street lights…Ok, it’s mentioned in the appendix…page 141.
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
Erich-
Just in case you think you’re a lonely voice in the forest, rest assured you’re not.
And good luck tilting that windmill.
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
I ran into the same situation last week with the EX3. Running and gunning in a department store, shooting 30p, I noticed the rolling band.
Wouldn’t changing the shutter in 30p actually change the shutter angle? Would this have minimized the problem, or is this just a cmos issue one has to live with…?
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
Yea, it’s a great unit…if you don’t mind having something the size of a lunchbox hanging off your camera.
I saw one in action recently. Holy Cow, that thing is huge! I figure it must have vacuum tubes in it…or perhaps a small nuclear reactor.
J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
RIP.
Funny that it took TWO new Varicams to kill it off…
J Cummings
DP/Chicago
http://www.cameralogic.tv
HDX-900/HDW-730S/DXC-D50 -
I have an HDX and didn’t know the answer either.
I found the solution the same place you did. I simply re-posted it here for the benefit of all.
Cheers-
J Cummings
DP/Chicago
http://www.cameralogic.tv
HDX-900/HDW-730S/DXC-D50