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April 25th, 2006, 09:50 AM | #46 |
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60P slow motion is a great benefit to independent filmmakers for dramatic slo-mo effects. The HVX200 does an excellent job of this, but if the HD200 can pull off a similar look in 1280x720 resolution, then the extra cost would be worth it. I have a project in the works, and I have been trying to decide what low-cost HD cam to purchase. The XL-H1 has the highest resolution, the HVX200 has 60P, and the HD100 allows film-like progressive shooting at a low cost. The HD200/250 may just combine all the aspects I need into one.
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April 25th, 2006, 12:54 PM | #47 | |
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Super Bowl XL (ABC) looked incredible compared to other football games (CBS). I wonder how super bowl XL looked on HD Cable (getting twice compressed) I was once watching HDNet and was shocked at how low quality the picture was. I found it completely unacceptable. If there was ever a need for broadcast standards HD needs it badly. |
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April 26th, 2006, 12:33 AM | #48 | |
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April 26th, 2006, 01:42 AM | #49 | |
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April 26th, 2006, 02:33 AM | #50 |
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60p will give it that video look, Personally 30p is just right for the look I want.
24p looks good also but it is a pain for panning and zooming. It's just too stroby and I'm not good enough with this camera to make it look pro yet. 60p is a bit too "Live" looking. |
April 26th, 2006, 05:34 AM | #51 |
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uneducated thought perhaps
but, keeping in mind they want to keep data rates down, but keep best quality for hdv, what about something like 4:2:1 compression, thus keeping data size down, but getting further quality enhancements, and that could max out at maybe 30mbps?
I'm sure someone will inform me thats its not possible, but just a thought. eg: new Sonys goto 35mbps vbr. |
April 26th, 2006, 07:07 AM | #52 | |
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Processing power has advanced so much that it probably wouldn't be a problem. For instance, the Ambarella h264 codec chip does over 15Mb/s+ h264 on an internal array of many Sparc processors, not much power, around 1w for the pro version (and I don't know how far over 15Mb/s the pro version is). Anyway, such a thing should be able to be easily changed for top Mpeg2, even the consumer versions that work at 100's of mw. Personal, I would prefer if they did h264 19mb/s+ for all modes. Does anybody know for certain if it is mpeg2 or what data rate? I am very interested in this camera myself, what codec it uses and what data rate (apart from sensor improvements etc). About the usefulness of 60p: I read something about European HDTV looking at 50p 720p for sports, rather than 1080i, in the news releases of IBC last year, or the year before. So I wonder if that has something to do with it. Thanks Wayne. |
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April 26th, 2006, 07:22 AM | #53 |
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I was die hard looking for the canon h-1 but I don't feel comfortable with 1080i for certain type stuff.
I think the 720 rocks. Much more "robust" (right word?) I totally agree with the 24p pan issue. I love 30p. But I really like the idea of pulling a great slomo with 60p. Can you convert 60p to 30p? Get the option of both film look and a great slow shot. |
April 26th, 2006, 08:33 AM | #54 | |
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Slow motion, etc.
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You can change to speed of a 60p clip to 30p or 24p using a program like Cinema Tools, which gives you a longer clip (slow mo), or you could drop every other frame of a 60p clip to convert it to 30p and maintain real time (by placing it on a 30p timeline in FCP). The only reason why you would do the latter, however, is if you thought you were going to do slow mo but then decided to use the shot as real time (and 30fps was your time base). Of course, your shutter speed will be twice as high, so the look will not be exactly the same as if shot in 30p. By the way, Cinema tools does not at present work on MPEG clips, which means to do slow mo you will need to convert your clips to Apple Intermediate Codec. If you're thinking of using a lot of slow mo, consider using 24p as your time base. That way you can achieve a 2.5x slow down rather than just a 2x slowdown.
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April 26th, 2006, 08:59 AM | #55 | |
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Guy read the posts on the tapeless forum - we are not talking about pure hard drive reliability here, we are talking bout the reliability of the implemented solutions - and so far few are brave enough to shoot without tape and of those that have, many have had their fingers burnt. The problems are not solved by mirroring either - these are software glitches, firmware problems, power problems - these devices just aren't as reliable as tape in the field, yet. BTW the reports that have come back on the DR-HD100 to date look very promising, but if I was a camera manufacturer I simply couldn't risk a hard drive only solution on an industrial or pro camera. |
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April 26th, 2006, 10:26 AM | #56 |
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Thanks for that 24p slowmo idea. Totally overlooked that one, will have to try it.
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April 26th, 2006, 10:37 AM | #57 | |
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-gb- |
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April 26th, 2006, 11:20 AM | #58 |
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Just got back from NAB.
HD200 - same as HD100 but with 60P and a "Flip" option for flipping the image before recording to tape when using an adaptor like the RedRock. Price increase - 2K. HD250 - same as HD200 but with HDSDI, more synch options. Another few K. 3 new lenses. One Canon prototype, 2 Fujinon. One of the Fujinon has a list price of 3500K was almost like the stock lense (maybe a tad wider) but much better glass. Impressive. Also: Don't forget that tapeless is already here with the HD recorder. The plus to this camera over other non-tape based recording is that you can still record to Tape at the same time as the HD. Therefore you have an instant backup of your footage and another level of redundency. Last edited by Tim Holtermann; April 26th, 2006 at 01:09 PM. |
May 16th, 2006, 11:45 AM | #59 |
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I've been looking at the HD200, but haven't noticed if it can burn a time code. Can it?
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