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I can tell one thing you can’t do with it: shoot PAL dv.
So if you want 24 and 25 fps, just buy 2 cameras.
I don’t get this…
Or are we maybe having A-version later on with 25/50fps added?

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Isn’t it as optimistic as to expect $42k camera format (dvcproHD) in sub-$10k camera?

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I do also some low-cost multicamera EFP productions and that brings me the question,
where are all cheap prosumer class videomixers for the digital age?
Back in the days it was quite nice to use eg. Panny’s s-video mixers, but now if
you want dv or hd quality, I don’t know any alternatives.

There is sony’s anycast station, but that’s $15k!

Or is there any software for this if you just add more fw-ports to your pc or mac?
Even VideoToaster is quite expensive and AFAIK it still doesn’t handle hd.

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And cheapest dvcproHD camera at the moment costs over $40k.
So what’s your point?

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Which camera under $100k isn’t primarily for ENG-use?

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From Sony’s Brochure:
“The DSR-85 has a high speed tape dubbing function which
allows you to make a dub of the recorded DVCAM tape
information (video/audio/sub code) along with the ClipLink Log
Data contained in the memory IC in the DVCAM cassette tape.
The dubbing is accomplished via the SDTI(QSDI) interface and
the RS-422A. Dubbing can be done at normal or four times
normal speed and is initiated by the menu button on the
subcontrol panel.”

And this was 1998-99.

I remember that word “dubbing” was used only for tape-2-tape copies.

Sadly (but normally) Sony kept these QSDI secrets my themselves so
they never got popular.

I’ve also understood that tape mechanisms can always write at the
same speed than read.

I have just got tired to these slogans in many of these forums that
“only dvcpro tape can handle 100Mbps” and “you need 16 heads”.

Well dsr-85 had 14 heads and I’m not saying it’s tape mechanism was
very small, but it is clear that if manufacturers would have seen
developing higher bitrate miniDV system profitable,
they could have made it.

Today 3ccd consumer cameras can have chassis volume less than litre.
It wouldn’t be too hard to build let’s say under 4 litres chassis
with higher bit rate miniDV-transport.

If panny would sell 100,000 cameras of those, then those 16 heads’
price would be less than 1/10 of what they are today.
I think this is just matter of getting to mass market or staying
in the “broadcast” niche.

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Doesn’t mpeg use dct?

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Luis:”Jan has mentioned before that the DVCProHD tape transport requires 16 record
heads working in pairs. At $800 a pair, that’s $6400 just for an HD tape transport.”

And I have mentioned that sony made a vcr that could read and write to dvcam with
miniDV tapes and with 100Mbps (4x speed) several years ago.

Maybe panny could, if they wanted to, develop a miniDVCproHD deck that could record
at least 40Mbps to miniDV tape.

Anyway it’s cheaper to leave all tape decks away…

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Price?
When RAW recording without on-set gamma and with more than 8bits will be available?

[Toke]

Well, that sounds groundbrakingly innovative!
Dynamic color depth!
So every frame is checked out and only the real depth above the noise is saved.
Is there any codecs already using this?

So in the future there might be “auto color depth” button 🙂
This would also lead to more efficient compression when you are shooting
in very dark places there could also be less than 8 bits color depth…