[John Sharaf]

Andy,

Now that Panasonic has lowered the list on the Varicam to $45K it effectively lowers the resale to some point just above a new HDX900. My guess of the resale value of a well used Varicam like yours would be about $30000 with the standard accessories.

As far as selling it, I’ve had good luck with Barbara Haller at NewProVideo, but there are many used equipment dealers and it couldn’t hurt to list with several; you’ve got to understand that they want anywhere from 5-15% of the transaction, so it does behove you to try and sell it privately first. If you do list at used dealers, to be fair, you should offer them all the same price.

I just recently sold my F900/3 through NewProVideo (to replace it with a F900R) and it took almost three months, so you must be patient, but there still is considerable interest in the DVCPRO100 cameras and I’ve heard of several people recently buying new “H’s” because of the favorable pricing. I think there is a lot of pent-up emotion for moving to HD amoung freelancers in all markets and the climate to sell your used HD gear and upgrade is relatively good.

JS

[John Sharaf]

Rock,

Unfortunately the only solution I know of at this point is to trade the camera in on a HDX900 which is considerably quieter (due to revised preamps). Somepeople say the “H” is quieter, but I have both cameras and don’t really notice any difference, even when looking at the blue channels on a wf scope.

Of course you’d ve giving up the variable speed feature and the very useful dynamic range controls, so as with a lot of things there is a tradeoff to be made.

JS

[John Sharaf]

North,

My suspicion is that the DVD’s you’re trying to view are not “native” 16×9; that is the picture is not “squeezed” in order to be “stretched out” on a widescreen set. This is probably because they were created in an era when there were few if any native widescreen sets in the field. Sometimes more modern DVD’s have the option of 4×3 (non-squeezed) or 16×9 (squeezed) versions on the same disc, assuming there is enough room to do so.

I’m sure you’ll find that if you imput a proper 16×9 source, such as a Varicam, HVX200 or HDX900, that it will fill the screen properly. It is therefore not a problem with your new monitor but rather with the source material you’re trying to view. Try one of the new HD-DVD’s or Blue Ray DVD’s , I’ll bet they work just fine!

JS

[John Sharaf]

Rock,

Needless to say, we’ve been though this before, mainly because as you might not know the H has been out for at least six months or more, but:

The main difference is that it is a lead-free version, mandated by the European Consumer Union. As a benefit of the rebuilding process, Panasonic did take the opportunity to upograde and include some of the feedback they had from the F users, such as:

improved cooling
option to delay picture two frames for dead sync sound
HD-SDI output with no nomenclature full time on one of the two outputs
strengthened lens mount
non-interchangable files, but they do have a PC program for conversion

As far as picture difference, there is very little; the preamps are improved and produce a slightly better (quieter – less noisey) picture.

I own both models and use them together all the time, and can assure you that they can be made to match with no more difficulty than two of the same models.

Panasonic did publish a white paper that ennunciated in detail all the differences (I’m sure I’ve left out a few as I’m recalling by memory) and perhaps you can get your hands on this document if you need it. Otherwise please search the archives here as I know i used the document to reply to this same query months ago when I received it.

JS

[John Sharaf]

Legreck,

When shooting at 24p with all but the Sony Cine Alta system, and of course the shutter set to 1/48th (or 180 degrees) like a film camera, the playback on tape is exactly the equivilent (as far as motion) as film shot at 24p and transfered to tape via telecine. If you don’t like the motion, then you wouldn’t like film either! Granted you can shoot film at 30 fps too, either with the shutter on (1/60th) or off (1/30th)and that provides another “look”. Pick your poison!

As far as Cine Gamma, you are correct, this development which can be found in the DVX’s, HVX’s, HDX’s, Varicams and Cine Altas (and others I’m sure) goes quite a long way in making video less video-like and more film like. The ability to extend the dynamic range, holding details in the highlights while at the same time being able to look into the shadows better can’t help but improve the imageing capabiliies of these cameras vis-a-vis shooting film, either 16 or 35mm. Furthermore, the HD imagers having up to essentially a 2K capability in 1920×1080 mode (and the improved HD optics) increases the sharpness at the same time relative to standard definition video.

To me there really is no debate; there are essentially three choices of frame rate, nameyt 24p, 30p (as you suggest) and 60 (either i or p depending on the networks’ preferance). If you are from the camp that would rather shoot film but have chosen HD for other reasons (economy usually) or are replacing film in your workflow for the ability to preview the final look on the set, or for whatever reason, then 24p is the natural choice. If you’re exhibition is intended for computer (i.e. internet) then 30p might be a better choice, or if you prefer a smoother motion, and finally, if you want the ultimate sharp, live video look, then 60fps should be your choice.

Ultimately there is no one “best” speed; we’re very fortunate that the manufacturers have built speed flexibility into the cameras (like the film cameras before them) so that the producer, with consultation with the DP and post production supervisors and client can determine and choose what is best for that particular project or intended exhibition scheme. If nothing else, I’d call this progress!

One other advantage to 24p of course is for conversion to PAL standards, mastering at the speed makes a better conversion motion-wise than the 30 or 60 options. There are times when this is very important, at other times, not at all. Whatever your framerate, also remember that you have shutter control too to “adjust” the look that is determined by the motion.

JS

[John Sharaf]

Randy,

Servo focus is mainly intended for studio configuration on a pedistal tripod where the operator views through a viewfinder mounted above and behind the camera (although there is also a manual focus rig for this setup) so he can no longer even reach the lens to focus, or could be used on a jib rig if you also have the proper servo focus control (in lieu of seperate Bartec or Preston focus rig). Most jib operators have the focus motor rig because it’ll work on all the Canon, Fujinon and motion picture lenses that they are called upon to use with supplied cameras. The built in servo focus costs quite a bit more and adds weight to a camera you’ll probably want to hand hold, so it’s probably not a good idea!

JS

[John Sharaf]

Bobby,

Yes, Panasonic most definately will offer a Digital Cinema Camera like the Sony 23. Whether it will be a three chip 2/3″ or one chip CMOS 35mm sized imager remains to be seen; but it will have the new AVC codec which allows D5 quality at 100 Mbs on P2 cards.

They showed the six-sided prototype at last NAB and have been soliciting end user import as recently as two weeks ago, when I was included in one of several group meetings with camerapeople, rental houses and others in Los Angeles with factory people here for that purpose.

Panasonic, like Sony is heavily engaged in R&D to further the capabilities and acceptibilities of Digital Cinema Cameras; they are responding to the motion picture and broadcasters expressed desire to migrate to high quality non-linear digital origionation, post production and distribution. The cost savings alone in print making and transport could justify the transition for the studios.

There will definately be more to come on this subject, but in the meantime the fact that there are very reasonably priced HD alternatives (like the HDX900 and the 1800 series Sont HDCAM VTR’s for about $20K)means that more and more folks will be pulling the trigger soon and making the move to HD production for both cinema, broadcast, cable, industrial, religious and other forms of media production.

JS

[John Sharaf]

If you’re delivering program for stateside use (as it sounds) just use 1/100th shutter speed in scenes that have flourescents or neon lights. This will eliminate any flickering and provide your NTSC compatibility. Leave camera set to 59.94 and shoot whatever your normal frame rate would be, namely 24, 30 or 60.

JS

[John Sharaf]

Mason,

I don’t really understand your question, but one common mistake that’s often made with firewire import (and I’m not sure if does not also apply to capture card import via HD-SDI) is to begin the digitizing on color bars; for some reason the Varicam only writes color bars at the 60 fps rate (even if the camera is set for 24 or any other speed) and the FCP gets confussed into thinking that all the subsequent footage is shot at 60, so when you polay it in the 24 timeline it’s slo-motion. Perhaps this is what you’re referring to? In any event, do not begin import on color bars, for that matter, unless you will be transferring to an analog format (which is often done to edit with Avids in a down converted mode) there really is no need to record the color bars at all, as the digital signal is at a nominal level that cannot be controlled such as you would do with an analog signal (level, setup, chroma, etc.)

JS

[John Sharaf]

Liz,

You’re in luck for two reasons; you are editing in FCP on a Mac and you shot 24p. This allows you to use one of the most elegent features of the Varicam workflow, namely firewire import. By bringing in only the discreet 24 frames per second you are effectively using only 40% of the 100 Mb bandwidth resulting in a considerable savings in storage space, while at the same time being able to edit in native high definition, even on a laptop. When you’re done, dump out to DVCPRO100 HD on a 1200/1400 VTR and then dub your SD version from that deck to whatever your SD deliverable format is. Your 1TB drive should hold about 1000 minutes (30+ 30 minute tapes), is that enough space for your project?

JS