Raw HDR-FX1 mpeg2 files are posted.
 

I used LumiereHD to capture these files that I shot last night with HDR-FX1.

I tried various ways of shooting, including riding my bike with no hand and going down the road fast while I was using both hands to control FX1. I thought this would be quite challenging for FX1 since a lot of pixels would be moving.

These are 1080i HDV files, so if you are watching it on a computer without interlace capability, making the playback size "half" would give you the similar look as you play back this file with original size on interlaced monitor (at least that is how I felt by comparing the monitoring on Sony master monitor and computer desktop playback).

I'm sorry that the footage is not that perfect since I'm not used to this camera yet and I'm not that professional on shooting other than mountainbike riding.

http://www.hdvinfo.net/media/kakugyo/

I will do more shooting today under the sunlight.

Thank you Chris and Jeff for providing me the server space.

Thank you so much Kaku Ito!

The files play for me with media player classic, although not too good because of my poor computer, hehe.

Again thank you so much!

(edit: Oh, and ofcourse a big thanks to dvinfo for hosting this!)

Best, Magnus Andersén

awesome, awesome. Now i will get this stuff to the PC from my mac and view them on the 50" HD XBR.

Kaku Ito, thank you so much for doing this. I look forward to more footage. At the moment i am dowloading all your clips. I hope you can film some in the cineframe 30 and 24p mode if you haven't already. Again thanks.

Michael Pappas
Arrfilms@hotmail.com

THANKS THANKS THANKS THANKS THANKS THANKS THANKS

THANKS THANKS THANKS THANKS THANKS THANKS THANKS

THANKS THANKS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Thanks Kaku Ito!!!!
I think you are the first one that have posted a full resolution clip of FX1!!!!You are very very kind!


The clip are very Beautiful,
but i think that with more light the Fx1(and the all camera of the world) will make toooooooo much better!

So,
-Can you PLEASE PLEASE post others clip shooted in Daylight?

and:
-Can you PLEASE PLEASE post 1 or two clip in cineframe 24 and 30 mode?


PS:Thanks to Chris and Jeff for the server space!


Thank you very very much!!!!!!


Best regards


Gabriele

cool, thanks Kaku Ito!, downloading right now( its gonna be a long wait) i dont know if my computer will choke!!

Thanks Kaku, great footage! I'm hoping to buy this camera early in the New Year and this has definitely whetted my appetite!

PS Hope the earthquake tremors that are being reported as I type this haven't affected you.

Thom

Can I kiss you?

For playback, I recommend using the freeware VLC for Mac OS X/Windows/Linux etc www.videolan.org

I just watched it, very nice, i just wish i could watch these on a 52" screen , better yet a HD projector. And heres the problem, are there any HD TV's in the UK? i know you can get HD projectors, i guess they will work out the some in price(maybe).

Anyway great stuff!

P.S any ideas on how to downconvert these to DVD ? tried Tmpgenc 2.5 (didnt like it) so far only VLC plays these files, Win player just craches (hehe :)


OOPS forot to metion let VLC to the deinterlacing it look much better, try discard ,method, and if your comptuer is fast enough try bob/blend

I wanna see, I wanna see! Whhhaaaaa

Sorry my out in the middle- a - nowhere internet connection would take a millinia to download these , I may try some at night while I sleep and I can watch them on My HD set through my HD video card.

Does he have audio too? and are people having trouble with Win Media 10 player?
I see these are m2t files shouldnt cineform HD Connect deal with these as to put them in Vegas and burn to DVD to see what the downconversion quality is?
David Newman are you out there?

I saw someone having TMPGE problems...yikes this is all I have that works with my Dual layer drive.

I hope software catchs up quick

Canon XL2 - R.I.P.
 

Just saw the footage...

don't want to sound mean, but do you think anyone will be able to GIVE an XL2 away?

Kaku's m2t files recognized in Sony Vegas 5!
 

Now I have the same capability as if I myself captured the clips - this is incredible. Media properties: 1440 x 1080 x 32 mpeg 2; yes, it's a b***h to work with as it tries to keep up - everyone, if you want to work with this stuff, we are all going to have upgrade our machines for sure.

I will be burning to SD DVD and assess compared to XL2... once I get all the files downloaded, I will start the encoding - will go for 2 pass, avg 8.5 bitrate with min at 7.5...

will report later (probably towards end of day)

Wow, the resolution - the low light - I cannot wait to get one!

I'm overwhelmed by all of your responses. You know I've been writing articles for Video Alfa Magazine, DV Magazine Japan and other famous Japanese magazines in my own language, but Japanese readers are very undecided until most of the people have the same ideas. So, most of the time my ideas and activities don't get understood. So, I really appreciate all of your feedback.

I'm capturing the daylight footage now and after putting those on the server, I will respond to your questions. Especially, concerning to play them back on larger screens. I have a JVC 42 inch plazma display, a ProjectionDesign's ModelOne HD projector and a Sony PVM-D20L5J here at my company.

By the way, my company is called CreativeSuite. I though of this name long before Adobe started using it recently. It is too bad that all of the contents on www.creativesuite.com is in Japanese. Because we provide lots of information for Apple, Decklink and MOTU stuff. If anyone can read Japanese, please enjoy.

I can watch in Windows Media Player 10
 

a warning comes up that it thinks it's unrecognized, but then you have option: try to play anyway?

Say yes and it does!

You probably have to have mpeg2 codec via Sony Vegas/DVD architect installed on system to make this happen - hence the discussions with VLC etc. previously reported - just get an mpeg2 codec!

By the way, the night shots to me seem very close to the look on the streets in "Collateral."

The low light alone is gonna make this thing the indie film darling.

Good work, Mark.

I will leave it up to you on the Vegas, because I'm new to Vegas. You probably should start a new thread for that so we can talk about Vegas and these files seperately. I would be very interested in talking about it. When you edit and encode them, please put my company's website address since I'm using the facility here and the company should earn some credit. It is www.creativesuite.com. Thank you.

I added a selection of daylight footage
 

I sent more files with daylight and put them in a folder in the Kakugyo. I also moved the night footage in to its folder, too. Enjoy!!

great~~
 

thanks for uploading wonderful clip...looks like hd1 can't compete with fx1..

here's few clip of hd1 with wide lense

http://www.oysy.com/citv/test2.htm

Looks Fantastic. I'd suggest viewing with VLC player. It plays m2t streams smoothly, and allows you to watch them deinteralced without a noticable performance hit.

http://www.videolan.org/vlc/

That daylight footage looks pretty bad! An awful amount of noise and the image isn't very sharp!

Can someone post frame grabs from this video in JPEG format? I am at work and won't be able to watch this footage until Monday. If someone could post frame grabs, I would greatly appreciate it.

For Kaku Ito :
 

THANKS AGAIN KAKU ITO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I have downloaded the all daylight clip.........very impressive!!!!!!
But I must tell you another very very very very big plasure:



If you have time....can you plese shot and post a Daylight clip with
peolpe ,car bike ecc...in moviment(and with camera moviment) in the 3 mode (60i 30p 24p)?

For example a clip similar "dfootbag"( that you have posted) ,but in the 3 mode it Will be PERFECT!!!!!!



I tell you this becouse in the clip that you have posted "dwaterfountain" and "dwaterfront" we can see the different resolution result image between 60i and 30/24p,
but the shot is very stable and there is not to much moviment (people and camera)for valutate the "cinema stile" of the 24/30p shot"
If you can post this 3 clip of the same situation we can valutate if is best the 24/30p mode or the 60i mode after a deinterlace softwere,
but for make that comparison we need a shot with moviment of people in the pictures and camera movimet


PS:the moviment of the camera it will be not to much fast becouse in 30/24p mode fast pan it will be cause blur!


If you can't......no problem,i have very very very very appreciate the clip that you have posted!



Best regards


Gabriele

Anyone else seeing a strange pulsing in B frames?
 

I wonder if anyone else is seeing this anomily:

In the night videos, check out mini.m2t from frame 460 through 739. The red background of the car is rendered perfectly. But look at the thin lines of blue and purple being reflected on the chrome and paint. They come through fine on I and P frames, but they're randomly less intense on the B frames, sometimes much lower in intensity! And worse, when the dark gray interior becomes visible around frame 590, its intensity is pulsing like mad, perfect on I and P, and darker than it should be on B frames.

Another place this oddity shows up is on the first part of fersshwwndw.m2t. Anyone else see the slightly varying background color there at the start of that clip? The I and P frames show a pinkish tone, but on some B frames it shifts to a white background. And check out the light in the distance on the left. It pulses pretty badly. When Kaku zooms up on the fur, the green and red reflections of color start pulsing pretty badly there, too. They look right on I and P frames, and randomly goofed on the B frames.

I tried filtering on the different primary colors to try to see where the source of this issue was, and it seems that this artifact affects the blue and green channels worse than the red.

I was wondering if my MPEG2 codec was giving me the trouble, so I've tried it with another, but still the same results. I've tried VirtualDub with the MPEG2 add-in, and the old standby -- Flask 0.6. Both had exactly the same results. I've never had these kinds of problems with either of these codecs in the past, and I haven't seen the same kind of thing out of the JVC, either. Is anyone else seeing this small artifact?

-Lorin

Hello Lorin! I will look for this later.

I was going to hold my opinion tell we received a higher level of production value from the FX1. Well why not at-least mention what I see. All the night footage has way too much noise. Leads me to believe that the camera is on Auto everything and the gain went to the top. I sure hope that's what it is. The daytime shots on my 50" XBR HD piped out of VLC via DVI look better then NTSC, but exhibit a high degree of noise and dancing artifacts within the image. I hate to say it, and for someone that has been around HD since 1987 i was hoping not to see that. Again maybe this is a isolated issue because Kaku is still learning how to use the FX1. But the first thing he must do is shoot 1/60th-0db gain and a tripod. All manual everything. There was that footage shot at a temple and the boat in the water at night that was awesome. I didn't get that same feeling at all from this footage. Just a preliminary opinions...........

PS: By the way the 24 cineframe so far is horrible. Jesus sony it's simple. 1/48th at 24fps.

Michael Pappas

interlaced vs. the simulated progressive
 

Thank you Kaku for posting the files for us and to Chris for hosting them.

In the specs I was reading, (correct me if I am wrong) that this camera is 1080i so this progressive cinema deal is being simulated in-camera?

On my Mac, through CRT TV and Projection TV, it looks like the interlaced footage has a much nicer, cleaner image than the Cine Simulation...

Kaku, I was wondering if that was your observation as well, or just my setup?

Before people have misunderstanding
 

I might have shoto the 24p at shutter speed of 60. I will make sure I check it the next time. So, please do not make the conclusion about the 24p quality by this clip. Also, 60i waterfront clip was shot too bright.

But as few people realized, I'm noticing some small blurred edges in the clip even watching on my Sony monitor. I was using the preset (P1) as Sony described in the manual which is ideal setup for HDV shooting, but I found it has very high value of sharpness parameter. I gathered my moutainbike friends today and shoot them riding around. I will change the parameter to see if I can fix this problem. I'm also concerned about how the fast moving beanbag turned out. It seems the interlace is not working as good as reagular NTSC specification.

I'm not trying to make excuses, but this is what I think about in frame mode and progressive in general.

After trying to see how "frame mode" or progressive could be used on few cameras that I tried, FX1, XL2 and GS400, you have to shoot like the film camera to make it look nice. I'm not movie style cameraman, so I can't do it good. However, what I understood is that, after seeing what the "subject" looks like, frame mode does not give you all the details. It give you more briefer veiw, so it is easier to follow the story itself, not the detail of the subject itself (Magic bullet's manual has wonderfull explanation of this explaining the film effect). So, probably it is not good to provide the same subject shot in three different modes. The shots should be taken with what each mode can do the best.

In movies, when pros shoot fast moving subject, they shoot in high speed frams like 60 or faster. Then they slow it down, so you can see the details of how fast it is going. What we are missing is this. We don't have videocams that do 60p except very expensive ones. We are trying to do everything filmmakers do, but if we are limited to purchase cams raging $1000 (GS400) to $6000, we have no choice. Then we have to work within what these cams can do, not putting them in the same level of demand that you would expect in HDcam of boradcast P2.

Then the small Panasonic P2 (the one they showed before) comes on the stage. That things supposed to do 720p/60frame. But I could not wait untill it is finished, so I bought FX1. FX1 is cheap available now and I can go back to DV if I wanted to.

We will start to find out what FX1 is good for and the same time bad for. I think the community here is going to help everybody to get good ideas to work around the cons. That is the main reason why I'm providing these clips.

I'm sorry but the time is running out and I have to leave to shoot the bikers.
I will get back to you for more details that everyone wants to find out.

Re: interlaced vs. the simulated progressive
 

<<<-- Originally posted by Brian Carrell :
In the specs I was reading, (correct me if I am wrong) that this camera is 1080i so this progressive cinema deal is being simulated in-camera?

On my Mac, through CRT TV and Projection TV, it looks like the interlaced footage has a much nicer, cleaner image than the Cine Simulation...

Kaku, I was wondering if that was your observation as well, or just my setup? -->>>

Brian,
It is not real progressive cam. It is called frame mode which used interlaced CCD and put to fields together to creat the similar resolution as progressive, but it is not the same. Because the timing on field A and field B are not shot at the same time, when progressive ccd can shoot the whole frame at the same time (maybe almost). So, my understanding is that frame mode can't be sharp as progressive as can be. I think what you are seeing is true.

<<<-- Originally posted by Michael Pappas : Hello Lorin! I will look for this later.

I was going to hold my opinion tell we received a higher level of production value from the FX1. Well why not at-least mention what I see. All the night footage has way too much noise. Leads me to believe that the camera is on Auto everything and the gain went to the top. I sure hope that's what it is. The daytime shots on my 50" XBR HD piped out of VLC via DVI look better then NTSC, but exhibit a high degree of noise and dancing artifacts within the image. I hate to say it, and for someone that has been around HD since 1987 i was hoping not to see that. Again maybe this is a isolated issue because Kaku is still learning how to use the FX1. But the first thing he must do is shoot 1/60th-0db gain and a tripod. All manual everything. There was that footage shot at a temple and the boat in the water at night that was awesome. I didn't get that same feeling at all from this footage. Just a preliminary opinions...........

PS: By the way the 24 cineframe so far is horrible. Jesus sony it's simple. 1/48th at 24fps.

Michael Pappas -->>>

Mike,

It is true that I'm still getting used to this cam. I actually didn't use too much of the auto setting though. I will try to bring the best of this cam, but what I'm doing at this point is that I'm trying to get as close look as what I see with my eyes. And so far, to be able to do that, I have to turn the gain on most of the time. So, this must be the reason why my clips has more noise?

Also, it was very cloudy and it was close to the sunset.

I forgot to mention one important thing
 

I'm sorry that I forgot to mention. The one with really wide angle is shot with the wide lens converter that they started selling. Some of the optical problems might have been introduced because of this on the day time clips.

Kaku, keep up the great work
 

You're already discovering nuances with the cam - of course, you'll have to play with it.

The stuff looks pretty good - I like the resolution - do you find the manuals helpful? Do they recommend how to shoot cineframe mode? I assue shutter speed should be something other than what you used?

Your night bike footage (dscndingbike) is incredible - the detail in the cars at night - it did look like something from "Collateral" - I think the cam has great potential.

Go crazy, man! Have a blast with the dudes! Play with settings and experiment - please shoot lots of people action - the "footbag" (hacky-sack we call it here in North America) footage was great to judge - it's hard from shots of waterfront and fountains - great work, Kaku!

Can't wait to see more...

Re: I forgot to mention one important thing
 

<<<-- Originally posted by Kaku Ito : I'm sorry that I forgot to mention. The one with really wide angle is shot with the wide lens converter that they started selling. Some of the optical problems might have been introduced because of this on the day time clips. -->>>

What's the name of that clip,please?


Also, you are scaring me with that gain thing... The night clips... I can understand the noise (it's got less than many cam actually) but the daytime shots are just horrible (except for the last GAP clip)! Can please try a daytime shot tomorrow with gain at 0db on a tripod just to see how little noise the camera has? A shot of a street with moving cars is best because there's a lot of contrast and different color to judge it with!

Thanks

Daytime clip noise / B-frame pulsing issue is real
 

<<<-- Originally posted by Donal Briard :

... the daytime shots are just horrible (except for the last GAP clip)!

-->>>

Yeah, I was pretty worried after checking out the daytime clips until that one popped up. Up until that point I had thought that perhaps Sony had crippled the consumer version, and would "open up all the stops" for the pro version with a simple software upgrade. But seeing the GAP footage I'm very encouraged, and eager to get this camera. It blows doors when compared with the GR-HD1.

Say Kaku -- any chance you had the darker of the two neutral density filters on for some of the daytime scenes? That could have partially contributed to all the noise. Just a curiosity.

One thing that's totally impressive on this small chip is that in the night shots there's very little vertical blooming artifacts! Hats off to the Super HAD CCD engineers for that one I guess.

Thanks again Kaku for your diligent effort in making these clips available.

On another board a couple people have gotten back with me on the B-frame pulsing issue, and from what I can tell it appears to be a problem with the codec in the camera. Kaku, do you remember trying out any special enhancement features such as when filming the "mini.m2t" or "fersshwwndw.m2t" files? Those files both exhibit this odd artifact, and I'm pointing the finger at the FX1's compressor because it only happens on B frames in the MPEG2 GOP.

-Lorin

"Kaku, do you remember trying out any special enhancement features such as when filming the "mini.m2t" or "fersshwwndw.m2t" files?"

Not sure if this has any relevance, but both are shot through store windows... Polarizing filter maybe?

Kaku. any chance of getting a daylight clip with 0db hain on a tripod? Thanks

"They come through fine on I and P frames, but they're randomly less intense on the B frames, sometimes much lower in intensity! And worse, when the dark gray interior becomes visible around frame 590, its intensity is pulsing like mad, perfect on I and P, and darker than it should be on B frames."

To me it looks like perfectly normal lighting flicker when the camera is recording at a different frequency to the lights: I've seen it often with PAL cameras in a 60Hz country, or film cameras with 50Hz lights. It might also be a result of using a non-standard shutter speed (e.g. 60fps but not 1/60 of a second).

If it was a general problem with the compression, it should be visible in all the clips, but I can only see it in clips with electric lighting... so I doubt that it is.

Yes Ill buy the lighting flicker, a lot of shops use mini HMI, so its the gas discharge rate which may be causing flicker. I believe the FX1 has a switch to remove this.

The fine noise I am seeing is almost certainly due to mpeg2, hard to do without - I have even seen very clean digibeta get noisy when coded to full band DVD quality.

Algolith has an excellent filter to minimise this

Most of all I would like to thank KaKu and the folks at dvinfo for giving us a great insight to the cam

Firstly, let me thank Kaku for taking the time and effort (and no doubt expense) to post these m2t files for us all to enjoy.

Secondly.....I get the feeling that not everyone who's checking these clips out has got the relevant hardware and software to be making the sort of critical judgements that they are.

I'm currently processing a couple of the clips to different formats to see how they respond. Captured still from the 'crosswalk' clip looks excellent. BTW, the audio of the guy saying "that's a bad-ass camera" indicates the FX1's street appeal!!!.

The low-light capabilities of the camera are evident and impressive. No way could you expect such quality results from a HD10 under such twilight and night light conditions.

Issue solved -- Artifact is from 50Hz electric lighting!
 

Mark and Donal -- You guys were on to something here! After pondering polarization and electric lighting, I focused my research on these and found another trace of this phenomenon on the daytime GAP sample ("eevgap.m2t"). Starting at frame 167 and going to the end, the red shirt worn by the girl on the fluorescent-lit sign there flickers, but only slightly. An important factor here is that I and P frames come up reliably every 1/10 of a second. With that section of video I conducted a little test:

If you take every frame that is an I or P (so every third frame) from frame 167 to the end of the GAP video and put just those in an uncompressed AVI, there is no variation whatsoever in intensity. I then made the same kind of "every 3rd frame" sequence, this time consisting of only the first of the two B frames in every group of 3. Those were all the same intensity. Finally I tried the second of the two B frames in each group of 3, and that also was consistent. Considering that each frame is 1/30 of a second, whenever we take every third frame it will always be on 1/10 second intervals.

Checking out the frequency of electricity in Japan from this page: http://kropla.com/electric2.htm, it says that Eastern Japan is 50Hz, and Western Japan is 60Hz. Kaku is from Shibuya, which is in the Tokyo area, where electricity is 50Hz. The least common multiple of 30 (our framerate) and 50 (the power company frequency) is 10, and that's the frequency at which everything is always consistent.

So the issue originally seemed tied to the codec only because the I and P frames represent a predictable 1/10 second timing.

I've never taken my NTSC video camera to Europe or Japan, so I hadn't ever seen this anomily. Now I know!

-Lorin

Ah, I wasn't sure if that was the cause because I thought that all of Japan was 60Hz, now you've settled it!

Re: Issue solved -- Artifact is from 50Hz electric lighting!
 

<<<-- Originally posted by Lorin Thwaits : Mark and Donal -- You guys were on to something here! After pondering polarization and electric lighting, I focused my research on these and found another trace of this phenomenon on the daytime GAP sample ("eevgap.m2t"). Starting at frame 167 and going to the end, the red shirt worn by the girl on the fluorescent-lit sign there flickers, but only slightly. An important factor here is that I and P frames come up reliably every 1/10 of a second. With that section of video I conducted a little test:

If you take every frame that is an I or P (so every third frame) from frame 167 to the end of the GAP video and put just those in an uncompressed AVI, there is no variation whatsoever in intensity. I then made the same kind of "every 3rd frame" sequence, this time consisting of only the first of the two B frames in every group of 3. Those were all the same intensity. Finally I tried the second of the two B frames in each group of 3, and that also was consistent. Considering that each frame is 1/30 of a second, whenever we take every third frame it will always be on 1/10 second intervals.

Checking out the frequency of electricity in Japan from this page: http://kropla.com/electric2.htm, it says that Eastern Japan is 50Hz, and Western Japan is 60Hz. Kaku is from Shibuya, which is in the Tokyo area, where electricity is 50Hz. The least common multiple of 30 (our framerate) and 50 (the power company frequency) is 10, and that's the frequency at which everything is always consistent.

So the issue originally seemed tied to the codec only because the I and P frames represent a predictable 1/10 second timing.

I've never taken my NTSC video camera to Europe or Japan, so I hadn't ever seen this anomily. Now I know!

-Lorin -->>>

Jesus, we're nerds...

Gawd, so many questions...
 

I'm going to try to report one by one....

*Cineframe 24 is not supporting shutter speed of 48.
Fisrt of all, I though I was stupid to leave the shutter speed to 60 when I was shooting 24p, but when you select "Cineframe 24", FX1 does not give you any slower shutter speed than 60. Maybe this will be different in Z1? When I shot the 24p footage, I selected the preset that came with for shooting 24p then I though it was giving me the necessary change in the shutter speed, but there's no way I could adjust since you can't select lower than 60. What a bummer.

*About the show window issue
What Mark Grant mentioned is most likely the problem. I was just using the cam alone, no filter nor wide conversion lens or what so ever. They were behind the window as all of you guessed. The gain could have been up little higher. John Jay mentioned about the flicker elimination and FX1 seems to be able to tunr the elimination on or off, there's no switch between 50/60 like Sony is mentioning on Z1.

Lorin,
I might have had ND filter on to check how I can get the details on clouds and shadows in the tree at the same time. But by lookng at shots from today, this noise issue could be MPEG2 problem. With the gain set to 0db, no ND filter on, cloudy but enough brightness, when I go all the way to wide side and have a lot of small details from the woods, then it looks not as sharp. Under the same circumstances, when I zoomed into subject it looks a lot more sharper and detailed. More things in the screen would be more likely to be noisier.

I posted a small file with 0db/F6.2. Sorry, but no tripod since I had other bike things to carry.

that last footage certainly 'floats my boat' :)



Kaku,

If you find time can you please try this test for me

1) hook up FX1 to a HDTV in 1080i mode via the D analog connector

2) remove any cassette in the FX1 (now using the camera head only)

3) wave your hand in front of the lens and tell me if you see any delay on the HDTV

I am trying to find out whether the analog out is mpeg2 compressed

this test will nail this question down


Many thanks

<<<-- Originally posted by John Jay : that last footage certainly 'floats my boat' :)



Kaku,

If you find time can you please try this test for me

1) hook up FX1 to a HDTV in 1080i mode via the D analog connector

2) remove any cassette in the FX1 (now using the camera head only)

3) wave your hand in front of the lens and tell me if you see any delay on the HDTV

I am trying to find out whether the analog out is mpeg2 compressed

this test will nail this question down


Many thanks -->>>

John,

What I could try at this moment is to connect it to PVM-D20 by component.
I see not much delay.