HD Camera Shootout: "Let the games begin" : In this corner we have.....
 

The festivities begin Wednesday Jan 11th @ 9am. Barry Green called in some HUGE favors and set everything up.

So LETS GET READY TO RUUUUUMMMMBLLLLLLLLLLLEEEEEEE!!!

In the red trunks weighing in @ 960 pounds we have the Sony HVR-Z1U (provided by shannon rawls)
In the green trunks weighing in @ 720 pounds we have the JVC HD100 (provided by adam wilt and/or nate weaver)
In the blue trunks weighing in @ 1080 pounds we have the Canon XL-H1 (provided by shannon rawls)
In the vari-colored trunks weighing in @ various weights we have the Panasonic HVX200 (provided by barry green)

Guest appearnaces by the two heavy-weight champions of the world:
Sony CineAlta (provided by big vision studios)
Panasonic Varicam (provided by big vision studios)

Confirmed testers & guests:
1. ADAM WILT, AUTHOR, VIDEO SYSTEMS ENGINEER & DP @ www.AdamWilt.com (TESTER) [unbiased]
2. BARRY GREEN, DIRECTOR, PRODUCER, AUTHOR & CAMERA OPERATOR @ www.icexpo.com (TESTER), [advocte of MAC & Panasonic]
3. NATE WEAVER, DIRECTOR & DP @ www.nateweaver.net (TESTER), [advocte of MAC & JVC]
4. JAY (not sure who this is but Barry said he'll be there)
and
A. SHANNON RAWLS, MOVIE PRODUCER @ www.CinemaHill.com (DOCUMENTARIAN) [advocate of PC & whatever looks best]
B. EMPLOYEES OF THE STUDIO (GUESTS) [advocates of unknown]
C. whoever else Barry has invited that I don't know about

Barry has invited the following unconfirmed testers & guests:
I. MIKE CURTIS @ www.HDForIndies.com (GUEST) [advocate of MAC & Panasonic]
II. GRAEME NATTRESS @ www.nattress.com (TESTER) [advocate of MAC & Panasonic]
III. GORGEOUS BLONDE ACTRESS, head-shots or perhaps a cinema-style scene setup (GUEST)


AUDIO
1. Using a simple Audio-Technica AT897($250) shotgun mic fed into a simple Behringer MXB1002($99) mixer, line level out split to all 4 cameras at the same time, cf25/24p/24f modes, Line Level In, Limiters/Noise Reduction/Auto Levels all ON
2. Using onboard built in Microphones that come with each camera set at an equal distance from the male human subject, cf25/24p/24f modes, Limiters/Noise Reduction/Auto Levels all ON
audio note: we will record roughly 10 seconds of audio & video of the male human subject as he reads the headline on the 1st page of the Los Angeles Times Newspaper.

VIDEO
1. RESOLUTION TESTS:
All 4 cameras will be white balanced to the same white card and placed in MANUAL MODE with AUTOFOCUS ON. Their picture profiles/custom presets/image settings will all be turned OFF. If there is a setting that cannot be turned off, then it will be set to "0" or whatever the 'middle' setting is. Each camera will be placed in the exact same spot as its competitor when testing. We will record 10 seconds of resolution chart footage for each....
1080 HD
a. cf25/24p/24f modes, 0db gain, 1/48th shutter speed¹, aperture TBD (z1u/xl-h1/hvx200)
b. cf30/30p/30f modes, 0db gain, 1/60th shutter speed, aperture TBD (z1u/xl-h1/hvx200)
c. 60i mode, 0db gain, 1/60th shutter speed, aperture TBD (z1u/xl-h1/hvx200)
720 HD
a. 24p mode, 0db gain, 1/60th shutter speed, aperture TBD (hd100/hvx200)
b. 30p mode, 0db gain, 1/60th shutter speed, aperture TBD (hd100/hvx200)
480 DV
a. cf25/24p/24f modes, 0db gain, 1/48th shutter speed¹, aperture TBD (all 4 cameras)
b. cf30/30p/30f modes, 0db gain, 1/60th shutter speed, aperture TBD (all 4 cameras)
c. 60i mode, 0db gain, 1/60th shutter speed, aperture TBD (all 4 cameras)

2. CAMERA MOTION TESTS:
All 4 cameras will be panned left, right, up & down across a correctly lit subject to evaluate a moving cameras motion cadence and consistency. Cameras will be hand-held by Adam Wilt with Image Stabilizers OFF, MANUAL MODE, matching gain, matching aperture....
1080 HD
a. slow pan: cf25/24p/24f - 1/48th shutter speed¹ (z1u/xl-h1/hvx200)
b. fast pan: cf25/24p/24f - 1/48th shutter speed¹ (z1u/xl-h1/hvx200)
c. slow pan: cf30/30p/30f - 1/60th shutter speed (z1u/xl-h1/hvx200)
d. fast pan: cf30/30p/30f - 1/60th shutter speed (z1u/xl-h1/hvx200)
720 HD
a. slow pan: 24p - 1/48th shutter speed (hd100/hvx200)
b. fast pan: 24p - 1/48th shutter speed (hd100/hvx200)
c. slow pan: 30p - 1/60th shutter speed (hd100/hvx200)
d. fast pan: 30p - 1/60th shutter speed (hd100/hvx200)

3. SUBJECT MOTION TESTS:
All 4 cameras will be locked on sticks simultaneously recording 20 seconds of a correctly lit subject to evaluate a moving objects motion cadence and consistency. The subject will be Shannon doing the old man version of the Karate Kid and possibly trying to break-dance *smile* Cameras will have Image Stabilizers OFF, MANUAL MODE, matching gain, matching aperture....
1080 HD
a. cf25/24p/24f - 1/48th shutter speed¹ (z1u/xl-h1/hvx200)
b. cf30/30p/30f - 1/60th shutter speed (z1u/xl-h1/hvx200)
720 HD
a. 24p - 1/48th shutter speed (hd100/hvx200)
b. 30p - 1/60th shutter speed (hd100/hvx200)

4. LOW LIGHT TESTS:
part 1 = We will create a dark shooting environment probably lit by a single candle being handheld up to their face by a human subject. All 4 cameras will be on sticks with Image Stabilizers OFF, MANUAL MODE, matching aperture & GAIN level locked at 0db....This test should allow us to determine which camera gives the brightest pictures of the "out of the box" internal circuitry performance. We will roll 20 seconds of footage simultaneously....
1080 HD in Low Light @ 0db Gain
a. cf25/24p/24f - 1/48th shutter speed¹ (z1u/xl-h1/hvx200)
b. cf30/30p/30f - 1/60th shutter speed (z1u/xl-h1/hvx200)
720 HD in Low Light @ 0db Gain
a. 24p - 1/48th shutter speed (hd100/hvx200)
b. 30p - 1/60th shutter speed (hd100/hvx200)

part 2 = We will now do the same above test, but this time we'll keep the camera who got the best performance @ 0db. As for the other 3 cameras we will turn the GAIN LEVEL up until we see the first signs of Grain in the image. If a smidget of Grain is detected, we will back down to the next lower decibel until it's gone. At which point we will determine which camera can "SEE" the best in the dark regardless of its Gain setting. This test should allow us to determine which camera is slower or faster then its competitor in terms of iris STOPS and lens performance.
1080 HD in Low Light
a. cf25/24p/24f - 1/48th shutter speed¹ (z1u/xl-h1/hvx200)
b. cf30/30p/30f - 1/60th shutter speed (z1u/xl-h1/hvx200)
720 HD in Low Light
a. 24p - 1/48th shutter speed (hd100/hvx200)
b. 30p - 1/60th shutter speed (hd100/hvx200)

5. SENSITIVITY/LATITUDE/DYNAMIC RANGE TESTS:
Different titles but they all have the same definition: This test will determine each cameras ability to "see" BOTH details in shadows and in highlights.
This test should ONLY be done with picture profiles/custom presets/image settings all turned OFF. If there is a setting that cannot be turned off, then it should be set to "0" or whatever the 'middle' setting is.
I'm not sure how Barry, Adam & Nate will test this

6. COMPRESSION ARTIFACT TESTS:
This can be tested by fast camera motions (whip-pans) in bright daylight.
This test should ONLY be done with picture profiles/custom presets/image settings all turned OFF. If there is a setting that cannot be turned off, then it should be set to "0" or whatever the 'middle' setting is.
I'm not sure how Barry, Adam & Nate will test this

7. NOISE LEVEL TESTS:
This test will look for shadowy areas with blockiness and pixels that get translated to downconverted DV and film blow-up's.
This test should ONLY be done with picture profiles/custom presets/image settings all turned OFF. If there is a setting that cannot be turned off, then it should be set to "0" or whatever the 'middle' setting is.
I'm not sure how Barry, Adam & Nate will test this

8. COLOR PERFORMANCE TESTS:
This is how we determine how the CCD's handle the various colors of the rainbow and displays them on screen. Personally, I think this is a waste of time, since each camera has tweakable color settings that are infinitly changeable. If we do do this test, it should be done with picture profiles/custom presets/image settings all turned OFF. If there is a setting that cannot be turned off, then it should be set to "0" or whatever the 'middle' setting is.
AND AFTERWARDS, this same test should be done with each camera set at it's OPTIMAL SETTING for the shot, including stretching blacks, cine-gammas, matrix settings, etc...
I'm not sure how Barry, Adam & Nate will test this.

9. FILM-LIKE / MOVIE-LIKE FEEL & EMOTION TESTS:
SO MANY parameters are involved in effectively doing this. I personaly think we should setup some type of gorrilla style scene where we utilize the actress outside in broad daylight and shoot all hand-held.
Either way, this test should ONLY be done with each camera set at it's OPTIMAL SETTING for the shot, including stretching blacks, cine-gammas, matrix settings, etc...
I'm not sure how Barry, Adam & Nate will test this.

____________________________________

In addition to the Internet site Chris will be setting up and DV Magazine that this test will be published in by Adam Wilt, I also think the behind the scene photos and video I will be taking should be authored to a cool DVD available right here at DVINFO.NET for $5.00 each. The proceeds should be split between Barry Green for setting up the shootout and Chris Hurd for hosting it.

¹The Sony HVR-Z1U cannot shoot 1/48th shutter speed. In this case, we will have it set at 1/50th.

- ShannonRawls.com

Also,

what I propose, is that after the testing is done. We create high quality .WMV video & .PNG photo clips of each test and then upload the results to Chris Hurd (who I believe is forced to be fair & unbiased due to the nature of this website) and simply have him setup a small section on this site and allow people to vote on the footage without revealing which camera is which. Next Monday, reveal the camera that belongs to its clip and publish the vote results. I will keep my lips zipped if everyone else does. *smile*
Alternatively, we can just let the cat out the bag and announce the winners right away.

- ShannonRawls.com

I can't make it, but really would have loved to. Although I'm not a Panasonic advocate, really. I'm highly interested in the concept of recording video to memory, hence my interest. I'm also on record saying both HDV and DVCproHD are "overcompressed".

I think this is going to be a fascinating experiment.

I think what we'll see if that each camera is a compromise - the answer is the one to pick the compromise that meets YOUR needs, based on facts, not predjudice.

Graeme

Can someone explain why the best performer in the 0 db test is held at 0 db in part b, while the other cameras are effectively adjusted to their best low light setting? Looking forward to the results. Thanks.

Shannon,

That looks outstanding! Thanks to everyone involved!

Just a few points to raise, (by which I mean no disrespect of your hard work):

1)
The DSPs are probably doing weird auto-gain processes. Well it sounds like the HVX is anyway. For the low light testing, it may be best just to set the cameras all up so that they each show the same brightness level whilst shooting the same, dark scene. The gain level doesn't really matter because it is something only the operator sees and has no comparative value across the cameras. We can then judge which has the best low light performance taking into account the nosie level.

2)
The XLH1 is clearly doing some intelligent deinterlacing when in 24F/25F/30F mode. Therefore a static chart will give an artificially high result. A moving shot is required, although I can't see how this could be done and still achieve a numeric value. It would have to be a simple "eyeball judgement" of resolution.

3)
Can you sling an XL2 (DVX, DSR 450) into the mix as a baseline of what we know already?

4)
Please don't make us wait until Monday! The riots will destroy civilisation as we know it!

Thanks again, in advance to all involved!

In addition to a whip pan, I suggest a whip tilt. Try several speeds of pans; slow as if filming a dramatic scene, medium as if following a runner, fast as if following a car race. I'm not suggesting finding these subjects just simulate the camera movement. It will be interesting to see if the compression breaks down past a certain speed of movement.

A more complicated suggestion is to find a natural scene such as trees in the wind or boats on water where the camera is stationary but the scenery isn't. This was where the JVC HD-100 started to lose it with JVC's own demo footage. Their shot was a medium angle down on a penguin floating in wavy water.

Otherwise, kudos to everyone participating in the test! You are helping thousands of people!

I agree about maybe putting the XL2, one of the best SD cams out now, next to the test, if someone has the cam and willing to help with the test.
It could give us maybe a better point of refference, or an EVEN better point of reference.

And I forgot, thanks indeed to everyone involved!

You should test Z1 @ CF25, not CF24. CF24 is bad; we all know it and for all practical purposes there is no difference between 24 and 24 fps, because the conversion is simple. Europe is 25, America is 24, you always do the conversion for the other market. Why is then the Sony camera being tested at 24p?

XL2 should naturally be tested too as a benchmark/point of reference.

It can be set to CF25 and 1/50 sec. shutter, which for all practical purposes is the same as 24 fps and 1/48 sec.

Resolution test #1: I think you should also try panning the camera very very slowly. This will be a bit fairer since it won't penalize camcorders when the line lands "between" pixels.
Also, the panning will show any aliasing artifacts that sometimes happens on edges.

If you want to be really technical, you could measure sharpness across various f-stops.

If you break light up into individual wavelengths (i.e. with a prism or diffraction grating), you can see how the camera performs at the cross-over frequencies.
Each element in a camera's sensor has a color filter placed over it. The color filter rejects light at certain frequencies, and lets light from other frequencies enter. If you plot this on a spectral power distribution graph, you will see a plateau.

Where the color filters do or don't overlap, you'll see interesting things happen.

I'm not sure how useful such a test would be. It could be used to predict metamerism, or how well two different cameras will match.

2- Pet request: Maybe you can test bokeh and depth of field?
Bokeh is how out of focus images look. It would be particularly good to see how an out-of-focus point light looks light as that reveals a len's bokeh.

It's also good to see a rack focus (as close to real world as possible)... it would show bokeh, depth of field, and breathing in the lens.

3- I think it's good to have more real world tests. Sometimes, results from synthetic tests don't translate to the real world. Synthetic tests are good however for making differences visible, and making these differences measurable.

Unfortunately some real world tests would be hard to conduct. A good test would be to take the camera out on a real project and shoot with it. Of course your results would not be very objective, and is subject to tester bias.

Another real world test you could conduct is to shoot various scenes (i.e. landscapes, indie film, etc.), and screen them in front of an audience of professionals and typical viewers. Do a double blind test to judge:
A- picture quality
B- whether the audience can figure out what images came from what camera.

Other possible real-world tests:
Can I shoot a wedding / corporate / whatever video with this camera?
What's good and bad about the camera for shooting such a project.

Try to shoot something which maximizes exposure latitude using all available camera settings.

Shoot something and bring the footage through an entire workflow. Color grade it, and make a deliverable from it. If extensive color grading is a part of some workflows, throw in some secondary color correction. In my opinion: the secondary key/mask from HDV (from the JVC 24p footage) looks nasty, as does DVCPRO HD. Very noisy in both cases. The dark areas especially have problems.

Do some green screen footage.

Try to match the cameras to the Sony Cinealta or Panasonic Varicam.

Throw a SD cam in the mix!

I agree with the idea of shooting a moving image such as water or fire which will be a more challenging test to the compression than a pan.

A couple of updates: Nate Weaver, master of the HD100, will be joining us to represent and ensure best performance from it. Rush Hamden of DVInfo.net sponsor EVS will be coming by to participate in the "blind judging." And the studio is providing the CineAlta, the VariCam, the monitors, waveform, vectorscope, and an excellent camera engineer.

We have been graciously supported by the providing of equipment from some very kind companies. Thanks to BandPro for supplying us the $4,000 Ambi Combi 2 resolution chart (no cheeseball home-printer printouts here!); thanks to DSC Labs for supplying their top of the line ChromaDuMonde resolution chart; thanks to ProMax Systems for supplying a tricked-out Mac/FCP/BlackMagic uncompressed editing system for side-by-sides, and of course big thanks to Big Vision Studios for making available such top-end gear and their space.

As far as the testing regimen, there is no way that we can satisfy all requests, and with six cameras in the mix we will probably be fundamentally overwhelmed in getting half the tests that Shannon listed.

Our main goals are these:
1) Get definitive answers on each camera's resolving capability, in the crucial modes (1080i & 1080/24f for Canon, 720/24p for JVC, 1080/25F for Z1U, 1080/24p & 720/24p for HVX, 720p for VariCam, 1080/24p for CineAlta). This will include simple static res chart testing, as well as some expanded testing being supervised by Adam Wilt.

2) Get definitive answers on sensitivity for each.

3) Get definitive answers on dynamic range for each

4) Get definitive answers on noise performance for each

5) Conduct at least one real-world outside setup, and one properly-lit indoors setup

6) Evaluate footage against the benchmarks (VariCam/CineAlta) as well as against each other, in blind comparisons and split-screens, where the viewers will not know which camera's footage they are seeing.

6) Optionally, if there's time, conduct a green screen shoot & composite on each

The subjective tests are designed to see how each looks, regardless of test chart performance. To determine which ones are most pleasing, and how the judges feel they compare against the benchmarks, and against each other. Test chart answers are nice to know, but they're not what people see when they watch the image; we want to try to find out both answers: how do they perform in the lab, and how do they perform in the real world.

We've done two- and three-camera comparisons before. Two is easy. Three is exponentially harder. Four would likely prove exponentially harder than three. Six will likely prove absolutely daunting. So there may not be a lot of time to do a wide variety of tests; it is our goal to make sure that the tests we are able to conduct will be conducted thoroughly, properly, and error-free. And we'll go until we run out of time! :)

Excellent! This is a good opportunity to meet Nate in person since I may be hiring/flying him to Atalnta with us for a Music Video at the end of the month that I want him to DP!
NATE...Bring those videos on DVD for me bro!

- ShannonRawls.com

I'd also be very keen to hear what the 1080i60 resolution of the HDCAM Cinealta is if it has that mode as well as 24p.

Graeme

This is really great; thanks in advance to everyone involved! May I also ask that the XL H1 be tested using both HDV-firewire and HD-SDI via either uncompressed or Cineform Prospect HD...or if you can't do both, please make sure to specify the data path actually used. Hope you can do both HDV and HD-SDI, though.
As everyone, I eagerly await the results!

Contrary to the popular belief the resolution is the same in either p or i. The interlaced testing will not uncover anything different.

Still, would be wonderful to see a rez chart that shows that, Petr. Do you have any documentation or links on Cinealta 60i / 24p resolution?

Graeme

For the camera motion tests (item 2), how about also doing the same thing with the image stabilizers turned on, so we can asssess how well the stabilizers work?

Unfortunately, can't make it, but sooooo wish I could
 

I would LOVE to be there, but unfortunately cannot. I found out about the test Monday, after I was already in San Francisco for MacWorld, and unfortunately I have to travel back to Austin this morning (Wednesday) for project work on deadline.

I'm VERY much looking forward to the results of this, and am only slightly jealous, since on top of the fact that I can't make it and I've been planning a nearly identical test for February and these guys have beat me to it.

: )

The people involved are all top notch, so this will be a very definitive test of what's going on and how these cameras compare, and I'm going to be checking it all out just as eagerly as everyone else.

Hope all goes smoothly guys, good luck!

All the Best,

-mike

One More Thing
 

Oh, and while I'm bluntly a Mac fan, I've been an advocate for the HVX200 in THEORY based on the specs, but after playing with it and seeing footage I'm not convinced it is the best way to go due to noisy shadow detail and a possible softness in 1080 res footage - I don't know if that is due to imperfect focus (boy, a production monitor is REALLY going to help!) during our impromptu tests, or whether the optical resolution of the camera is really closer to 720 res. My gut says (and disclaimer disclaimer, not properly tested) that I think the HVX200's 1080 res footage would not look all that different from the HVX200's 720 res footage with a nice scaling algorithm to uprez to 1080. That in short, the camera is optically, "really" a 720 res kind of a camera. That theory needs to be tested and verified, but that is my currrent sneaking suspicion, based on seeing some footage shot WITHOUT the benefit of a an HD monitor attached to properly focus. Of course, I'd love for this suspicion to be wrong. But as I'm saying more and more often, we'll see, we'll see.

These guys will have a definitive answer shortly.

-mike

I've been thinking something similar, and suspect many people will run this camera in 720p/24 mode because that makes sense economically and fits with what many people buying this camera will want. What's ironic about this is that in that mode, it should be feasible to have a camera like this work with standard high-end flash memory cards costing less than half what P2 memory costs per GB. Here's hoping Panasonic considers that option for future models...

OH LORD....don't start a fight guys. *smile* Please don't turn this into a 5 page argument.

STOP RIGHT HERE.....

RESIST THE URGE TO REPLY!

ok

Ummm...I have printed out all the requests....I will do my best to do as much as I can. Mike Curtis, wish you were here! Graeme Nattress, wish you were here! I wish a few other people were here too like Douglas Spotted Eagle and Charles Papert & Chris Hurd & Jarred land & Steve Mullen & Barlow & Pappas & Santa Clause & Jesus.

ok...i'm packing up to go park my car on the L.A. Freeway system. People are crazy this time of morning, I think I'll take the junker. *smile*

- ShannonRawls.com

everybodys late but me...
 

It's 9am and nobodys here

remind me to never hire any of these guys for movie crew! *smile*

-ShannonRawls.com

Do we get live updates?

I've seen it on a high end Sony 24p monitor, some 1000 lines either way; no difference in resolution between interlaced and progressive. The myth that the resolution is lower when switched to interlaced is total BS.

That horizontal or vertical Petr?

Graeme

some 1000 lines per picture height vertically and horizontally; vertical resolution is a little better than horizontal; no change in vertical or horizontal resolution when switching to interlaced. Even the older, now discontinued 1080i DVC PRO HD cameras did 1000 lines vertically; not the new ones though. The myth that the 1080 chip 2/3" cameras will not produce 1000 lines in 1080i is BS.

What about interlace filtering in interlaced mode. Is there a menu item to turn that on or off?

Graeme

Nice going, boys - thumbs up!
 

Thank you all in advance for all your efforts.

And Kaku, if you should read this, thank you very much, too. Your night drive in the taxi looked nicely cyberpunkesque. Maybe Chris can do something with your avatar in regard for your constant contributions to the forum.

Fantastic guys. What an amazing project. All the best with this overwhelming project. I can't wait for the results. You should document everything and sell it to a magazine. It should go down as the comparison benchmark to end all!!
Best of luck.

please be sure to make Quicktime versions of everything as well... thanks.

//danny

well initial reports are pretty good.. they seemed to have way too much too do and too little time, but from what I have heard it seems that bottom line is that they all looked pretty good when used like a camera should.

Wish I could have been there as well, in the middle of moving so couldnt make it :(

Yes please post quicktime as well! Can't wait for the results!

Don't forget that 1000 lines is also right near the limit of Sony's HD CRT too, probably best to examine it closer in a computer before solidifing those figures.

As Petr said, the CCDs are natively progressive so there's no static resolution difference between modes. If you're shooting a rez chart that were to be moving around progressive would be higher but that has nothing to do with the camera, just the nature of progressive vs interlace.

This is a myth too. It all depends on a shutter spped; you can make the moving chart resolution read sharper with a interlaced camera. Subjective sharpness due to the interlaced factor is something different. The problem is that there is this myth that that an interlaced camera reads lower resolution than a progressive camera on a chart, which by the way is always measered statically. It does not measure lower. The resolution drop is subjective in nature and not something that you can measure with a resolution chart.

Sorry, little misunderstanding Petr, I was refering to it more in the lines that if the chart was moving around in interlaced you'd have to freeze a field and not a frame in order to get a clear picture to read resolution (hence 1/2 resolution).

I think this is a fantastic opportunity but alas I seriously doubt it will end the vociferous rivallry between make loyalists or provide definitive data.

These cameras will all be indistinguishable in actual production conditions - no-one but no-one will be able to tell wether that low budget feature was shot on a H1, HVX200, HD100 or a Z1 and that's what matters.

They are all 1/3" chip prosumer HD cameras manufactured to a price point, with similar technology. I say with all due respect to everyone get out there and make things and do not spend sleepless nights worrying wether your new HD camcorder has 25 lines more resolution on a chart than another make.

If the camera shutter stays open the same amount of time for the 2 fields or for the one frame, the chart resolution will be the same.

If you're shooting at 60i and have a rez chart that's moving around and froze a frame you'd end up with field showing half the chart in one place and another field with the other half of the raster in the other place wouldn't you? You'd have to freeze a field in order to make a reading which would yeild a 1/2 resolution reading.

If the shutter is open for a full 30th of a second (or if a single image is recorded onto 2 fields), what you're really doing is technically just shooting 30P and laying it to a 60i tape format, so you're actual camera is really shooting progressive, not interlaced.

January 11th had come and gone. Did you guys get results?
 

So what happen did the test go off as planned on January 11th? When can we hear something about the results?