Rennie Klymyk
Forum Replies Created
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It may be a good idea anyway. You could continually record over the same card while streaming out the firewire port, constantly rewriting over the card every 8, 16, 32 minutes (depending on your format setting). Even an old smaller card could be used for this. That way if your firewire connection was knocked out which could easily happen, you wouldn’t miss anything while you re-connected the cable. Maybe Panasonic could devise a way for a sure lock firewire cable to connect like a BNC connector or the Videonics firewire cables to avoid this possibillity. Most I/O connectors on cameras butt into the camera at 90′ so the cable sticks straight out. Perhaps the jack could be positioned so the cable runs along the body a bit and it could be clamped a few inches past the connection point.
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I’ll take the HVX-200 just as it is now, it’ll probably work with my steady-cam JR and the auto function will be a blessing for that. Even without the steady-cam, 3rd party lenses would put the camera out of balance, you’d have to hold it differently and all the controls would need to be re-located. JVC had to go to a mini shoulder mount camera to add the interchangeble lenses. Maybe the HVX-300 can be this style. A 1/2″ adapter added between the lens and the ccd’s would increase the focal length of your lens thereby reducing the wide end of the lens and increasing the telephoto end (an 18X6.7 becomes something like a 20X7). That’s a crime. One of my favorite preferences over the DVX-100 and the HVX-200 over the Sony units is the wider to mid telephoto lens coverage they favor.
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Looks like the previous model didn’t do HDV so it was added on this latest model. Maybe they will add DVCPRO-HD by the time the HVX200 ships. Long form video solutions are comming up fast. At $850.00 for 100GB it’s getting afordable too. Nice they include Mac compatibility in their software specs too.
Thanks Sanjin! -
More from Adam Wilt: DV Formats
Why didn’t we check here earlier?It would seem recording in the DVCPRO 25 option with the HVX200 onto P2 that the extra 2 tracks get written as well. Obviously the MP over ME tape selection wouldn’t matter nor would the track pitch but the audio scrub track and the color lock-up track are written into the signal and make up the difference in the DVCPRO spec.
Quote from Adam Wilt’s page: “Panasonic’s DVCPRO increases track pitch and width to 18 microns, and uses a metal particle tape for better durability. DVCPRO also adds a longitudinal analog audio cue track and a control track to improve editing performance and user-friendliness in linear editing operations”.
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Another significant change was from DV’s metal-evaporated tape to metal-particle. Metal- particle tape
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The DVCPRO HD codec is not alone.
DCT – THE TRANSFORM: THE KEY TO COMPRESSION Small blocks of pixels are converted from the spatial domain to the frequency (detail) domain by a mathematical process known as a discrete cosine transform (DCT). There have been other forms of image compression developed, including wavelet- and fractal-based forms, but DCT is used in all compressed DVTRs from all manufacturers. It’s also used in most disk-based video compression systems. It is the basis for MPEG, JPEG, M-JPEG, DV, Betacam SX, Digital-S, DVCAM, DVCPRO, DVD, HDCAM, Digital Betacam, and Ampex’s identically named DCT.
Read the whole artical, it’s a little old, it’s Panasonic oriented but it’s not too long and quite interesting.
discrete cosine transform -
[toke lahti] “Why it is said everywhere that camera records dv _and_ dcpro25 to p2?
What’s the difference in ntsc with these two?
(In pal dv is 4:2:0, dvcpro 4:1:1) “A SIMPLE EXPLANATION
If there is no embedded meta data as I speculated and there is no difference it would seem to be for streamlined marketing and manufacturing. If the same body casting is used in both pal and ntsc models the selection switch could be the same and the reference markings on t he body (be they decal or raised plastic text) could be the same. A 4 position switch could indent from DV; DVCPRO -
[Rennie] “Although the compression schemes are the same I suppose there may be embedded instructions on where the data is placed along the tape physically to give you the footprint of each format.”
I’m suggesting that there is meta data embedded in these formats that distinguishes the track pitch, audio tracks location, tape speed or footprint length, location of time code etc. when outputing to tape. Sony may have the T/C along the top and Panasonic along the bottom.
[toke lahti] “But if dv and dvcpro25 are identical in p2, what’s stopping you to export dv from p2 to dvcprotape to be as dvcpro25? “
The compession scheme is the same for the actual video picture but there is hidden data there that the decks and cameras use to read and write. Also the physical location of timecode and sync ect may be in different locations on the different brands of formats. Therefor these formats are not identical, just the picture compression part is identical. The P2 format preserves this formula for which ever format we choose so when we output to tape it plays in the deck of the format we chose.
I’m no engineer and I’m really just guessing here but it makes sense to me. -
It makes a difference to me as I’m set up with DVCPRO and would rarely use DV if I want to output to tape. Now if they would only change the transport…
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I hope it can be used this way but it would be wise to download to disc until you got used to your system. I know when I transfer data from my Sandisk compact flash card through the Sandisk reader to the hard drive, the system has choked and froze when trying to download larger cards. This neccessates a reboot! (did someone say reshoot?!!) It is possible to lose data if this happens or your computer crashes for some other reason with the card pluged in. I now download off the larger cards in segments and never have this problem. It’s not the same comparing $90.00 Sandisc software and hardware with Panasonic P2 systems but until you’ve gotten accustomed to your set up it would be a good precaution to take (download to disc). Panasonic’s readers and cards seem much more robust so hopefully this will not be an issue. The standard proceedure for working with this digital data is: 1st. BACK-UP, then GO AHEAD! ….(That is: back-up your original, then go ahead and edit)