Anyone seen the PAL 100A?
 

I live in the UK, and I would like to know when the PAL version of the DVX 100A will ship?

I have asked Panasonic UK, who were not very helpful, I think they have too many 100's at the moment to get rid of.

Is there a source that I can import from?

Try the sponsors of this website/forum, or else www.expandore.com or www.globalmediapro.com.

Thanks Peter,

I have looked at those websites you mention, but I don't know if they have a good reputation. They don't seem to list much information about themselves.

I have done heavy research on both of them before buying the DVX100 PAL (but finally a suplier in my country did me an offer I couldn't refuse).

Expandore has a good reputation from indept. filmmakers I've checked directly, but they seem not to offer a creditcard payment (but perhaps you have to call/mail them about that).

GlobalMediaPro offers creditcard payments, but they charge you extra for that. I have had a good email contact with them which was okay and I could not find any bad news about them on the internet in forums etc.

It's up to you.

Peter,

Perhaps your supplier in the Netherlands will get the 100A quicker than here in the UK?

Is your supplier on the web?

I got it through Provid (www.provid.nl). They are a A/V company based in Amsterdam.

Call them for info, they are very helpful and trustful (lot's of examples to share on both areas).
They are an official Panasonic dealer. For my DVX100 I paid 3,500 euros including an extra battery (excluding VAT). They don't have a webshop.

John,

I just got my DVX100A last night from the shop. Just want to let you know that the shop told me that the warranty card issued by my HK agent can be exchanged to an International warranty card at the agent's office.

If you decide to get the DVX100A from another country, you may want to check if this warranty card exchange is available in that country. Good luck!

p.s. it is my first prosumer DV camera.... only realised that it is so heavy without a tripod last night.

Thanks Paul,

I might have to purchase from another country. On the internet, one supplier is quoting US $3,500 and in Europe it is 3,500 Euros + tax. So in the EU this makes the 100A (PAL) about US $500 more expensive!

May be you can find a cheap air ticket to HK for $500, buy the camera in HK and do a travel documentary at the same time!

BTW, it costed me $3270 to get the DVX100A + Contax UV filter + 2x DVG54s batteries + 5x MQ tapes.... what a deal!

Pal DVX100
 

Just to confirm...

The Pal DVX100 also shoots 24P as well as 25P?

If so, is the resolution of 24P higher than the NTSC version?

Thanks,

Brian

If I recall correctly, there is no 24p mode in the PAL version of the DVX100.

Chris is correct. PAL does not have 24p or 30p, only 25p.

Just want to correct my last email. I have confirmation from Panasonic in Hong Kong that the exchange for International warranty is only applicable to comsumer products. They regard the DVX100A as a professional product and the warranty has effect in Hong Kong only. Sorry for the incorrect info.

>>>Chris is correct. PAL does not have 24p or 30p, only 25p.

But is the resolution that much better that might make the PAL better suited for film out than the NTSC version?

I just saw a sample of footage shot on the PAL DVX100 and it looked stunningly film like. I have so far not come across anything as rich looking shot in NTSC.

Brian

I have the PAL DVX100 and it's a great camcorder. I can't compare it with the NTSC version, but an advantage of the PAL version is also the fact that there isn't any special issues with your NLE, you can just work in progressive mode. Despite of Vegas having advanced pull down methodes for the ntsc-version of the DVX100, it's better to work straight on with the captured material.

IF you plan on going for international distribution (along with stateside) and you don't plan on doing any sort of eng type work in the States, or shooting weddings, or anything that absolutely requires NTSC . the PAL version might be worth considering. I'm considering it.
Mostly for either direct to DVD or uprez to Windows Media HD format. But thats me. I don't recomend my advice to anyone but myself.

It would be nice to get some work doing Human Interest programs for Euro/PAL based entertainment orgs with interest in things happening in the States. That would be an excellent reason to go PAL.

Still no sign of the PAL camera in the UK.

Anyone know if it is available in the US? The UK£ - US$ is good at the moment.

Does anyone have any experience buying from this Singaporean e-shop? Just stumbled upon their site when searching information about the PAL DVX100A.

http://www.elicr.com/prodoverview.as...lay=Spec&zoom=

They claim to have the PAL version in stock already, although I remember reading from somewhere that the PAL version won't be available until April. Go figure.

I have shot with both the DVX100P NTSC and the DVX100E PAL. As already stated, the PAL version does not support 24P or 30P, only 25P. There is no reason for 24P or 30P support in the PAL model. Since the PAL standard runs at 25 fps, and 25 fps can be transfered to film at a 1:1 frame ratio, 25P takes care of both. You can do progressive video for PAL distribution or progressive acquistion for film out. And since the PAL standard does have higher vertical resolution (which is what counts) than NTSC, you will get a higher res image. Couple the higher vertical resolution of the PAL standard with the full vertical detail of progressive scan, and you get a full 570P recording. That's only 150 lines of vertical resolution away from the 720P High Definition standard!

But think about this:

Since interlaced scan systems coupled with line pair summation only gave us about 400 lines of vertical resolution in NTSC compared to the interlaced scan line pair summation of PAL giving us about 450 lines of vertical resolution, the NTSC DVX100 (in thin line detail) is already giving us a slight edge on what the old interlaced PAL cameras had on us.


I have noticed a few small differences in the NTSC vs PAL models. The PAL model has an additional colour setting and the menu is a bit different. But not a lot of differences. And no additional controls or features. I can tell you that to my eyes, the PAL version is noticeably superior in terms of resolution.

My advice would be to think long and hard before you buy a PAL camera if you live in NTSC land. Yes, the PAL standad is superior. Yes the PAL standard will be better for a film out. And you don't have to screw around with the 24P pulldown crap in post. But you will be locked into a standard that very few in NTSC land can work with. Not to mention that you won't be able to plug it into your NTSC TV and watch your masterpieces...

Jon Fordham wrote:
>>>I have shot with both the DVX100P NTSC and the DVX100E PAL.>>>

John,

Your comments in the JVC HD forum really made me take a closer look at the DVX100. Thanks again for the invaluable real-world perspective.

Isn't there a way to render PAL DVX100 footage from say, Vegas, onto a DVD for viewing on an NTSC set?

Or would DV Film Atlantis solve this problem?


Is there an advantage to staying in interlace mode and render 24P in post?

Brian

Brian,

Glad I could help.

First, let me start by saying that I am in no way a post production expert. I am a Director of Photography and often work as a Digital Imaging Technician on HD jobs where I am working with a paintbox or directly manipulating the camera's DSP. So my experience with any and all post production techniques is from either an observant point of view or having been involved in the manipulation of imagery that I shot.

That having been said...

Sure, you can tell your post system to export, render, or otherwise output whatever standard you desire. But the ability of a given system to perform such a task with any sort of quality results is arguable. Certainly many systems and software applications give you the option to output your work in any/many number of varying formats and standards. But usually those applications can't deliver the quality results that you get from a system that was designed for that sole purpose. I would much rather have a Digital Standards Conversion of my PAL work via an Alchemist SDI system instead of a FCP4 export. Or better yet, a Teranex Standards Conversion. But that's just me. If the quality of the results you get from your own conversion method suite your needs, then you're set. But I doubt that a $1,000 NLE application could compete with the results of a $50,000 Standards conversion system.


I would not recommend shooting 60i, and extracting 24 frames from the 60i recording if 24 frame progressive capture is an option. In comparison to a 24P capture, the 24 frame extraction from 60 interlaced fields would produce less than desirable results. Primarily due to the drop in resolution you would get by having to interpolate single fields into full frames.

I have worked on two Varicam projects where the DP chose to shoot everything in 60P. This was an approach I suggested to give them the option in post to change the speed as they saw fit without having to create a fake looking post effect. Since the Varicam shoots and records in 60P (full frames) instead of 60i (half frames), this method is viable as a quality way of deciding what you want after the fact. With 60 whole frames, you can still extract 24 frames per second as well as creating slow motion effects "natively" so to speak. Unfortunately this only works with progressive capture.

Jon