[Toke]

[jeremiah black] “render you footage out (1) to the same codec it was shot in, and (2) to a 10 bit, uncomressed 4:4:4 (or 4:2:2 for SD) codec,”

I’m just wondering what’s your typical camera original format?
1920×1080 4:4:4 output seems a bit overkill if your original is hdcam(chroma 480×1080) or varicam(chroma 480×720).
More color depth is of course always beneficial when you change the colors.

[Toke]

[Luis Caffesse] “This wouldn’t be possible if the format were changed. “

Of course it would!
The history of formats is full of downward compatible formats.

[Toke]

I don’t belive that there will be any tape specs in p2’s video file.
Video clip in p2 is in file format, which is totally different than data stream which is recorded to tape.
Storing data about eg. “where to put tc” in the tape or “what is track pitch” would be useless, because the deck knows these things already and can’t change them.
If these kind of ristrictions would exist you couldn’t copy dv to dvcpro and vice versa.

[Toke]

Maybe next model could have tape dropped and more p2 slots or even place for 2.5″ or 1.8″ hdd.
For now, ability to record overspeed (eg. 60fps) from p2 to tape is unique and might get popular
among those who have to hand over a tape after work.

[Toke]

I think that by introducing a new media (p2), it would have been logical time to extend the old codec at the same time. Pull-down frames could added at the export from p2 to legacy tape deck.
But this would need new codec chips to camera…

[Toke]

But if dv and dvcpro25 are identical in p2, what’s stopping you to export dv from p2 to dvcprotape to be as dvcpro25?

[Toke]

Me too.
Maybe the reason is in dvcproHD dsp chips and Panny designs new ones after every 5 years, so this model is still done with the old ones…

[Toke]

Pitch widths are 18, 15 & 10

[Toke]

b = bit
B = byte = 8 bits

You can’t fit 4-5 uncompressed to 100Mbps,
so I guess you mean 100MBps

[Toke]

I hope there’s also 25 and 50…