I'm using my laptop right now with AVID. I need to load these files onto my main video editing PC. The skidking file (720 60P) blacks out when I press play, but the still image returns when stopped. Something weird must be up with the overlay on my junk laptop.

Steve

Download and install the AVID codec pack:
http://www.avid.com/content/7952/AvidCodecsLE101.zip

Download the demo version of DV Film Maker, unzip and run:
http://www.dvfilm.com/hvx200/maker221demo.zip


Drag the MXF file to the DV Film Maker window. Should be able to view and/or convert.

Is your overlay set to play out on a secondary monitor or TV output?

That exactly what i'm seeing here.
At first look, colors seem richer than what i've seen from the H1.

Two great camcorders i guess.

My quick feedback is that it looks great with no visible noise. The motion of 60p is stunning for sure. I tried blowing the image out with color correction in FCP and, sure, I can make it look ugly, but anything reasonable that I'd do to an image looks awesome. This is in contrast to the noise seen in the pre-production Michael Pappas footage. Now I'd like to see how lower light looks with the HVX.

So far, it's hard to see the difference in quality between HVX200 and XL-H1, except the lattitude seems to be greater in the footage shot by Kaku and Barry. On the blown out parts of Kaku's footage, I was surprised to see there is actually more detail in there once you bring down levels. :)

One more observation, on high motion, at least with 1080i capture, it looks like the HVX200 is the winner.

Here's a single frame interpolated from a single field from the HVX200:

http://www.holyzoo.com/content/hvx20...Interlaced.jpg

Here's a single frame interpolated from a single field from the XL-H1:

http://www.holyzoo.com/content/hvx20...Interlaced.jpg

However, I would argue that 24F or 30F mode would probably yield superior results than the interlaced mode on the XL-H1.

Moving MXF files for download
 

Hi Kaku,

Try this. On the mac, go to your finder and navigate to the P2 card, be it in your computer or in the camera that is mounted to look like a hard drive. Take the folder CONTENTS and move the entire thing over to a download area. If that is just too much data, navigate and delete some of clips. The video clips are the biggest, and then be sure to remove the ICONs and audio for those same clips.

Then folks that have systems that can support the MXF should be able to import just as if it were a P2 card once the folder is downloaded.

Best,

Jan

In my comparisons, the XLH is pushing way more pixels.

BUT, the XLH is WAY more compressed, and it shows easily, especially on a proper HD monitor. This sounds like a cop-out, but I think they BOTH look very good in their own ways.

In fact, of the 4 cameras currently available, there's only one that I think comes up a bit short.

and that would be?

Which one is that Nate? Just curious!

hey, jeff... you need avid xpress to use your method, right?

Actually I don't think it's a cop-out. I think it's very reasonable and accurate to say. The most positive spin is that we have amazing tools available now. The negative spin is that for many, the decision on which *one* to purchase or workflow to buy into generates the argument of which is *better*.

I have tremendous respect and lust for the XL-H1. But now it's really time to welcome the HVX200!

All of Kaku's footage looks amazing downres'd to SD on a broadcast monitor. Anyone out there viewing this material out of a Kona/Blackmagic card into an HDTV?

Note Added: Also worth mentioning, FCP is downconverting DVCPRO HD in a DV25 timeline and streaming out via Firewire in real time with a few filters on it, effortlessly on a Quad G5.

Not entirely true; you can use the Avid codec within Vegas or Premiere Pro and use it to make quicktime files.

But it won't work with a quicktime file that's been created on a Mac. Don't know why, but that's the problem. If I render a QT from the PC/Vegas using the Avid codec it shows up fine. If I download Mac-originated DV100 quicktime files, all I get is the white screen.

I've heard it works within Avid though -- apparently Avid Express Pro HD users can view the Mac-originated DV100 Quicktime files.

Jeff's posted method (DVFilm Maker & the Avid codec pack) will let PC users get access to the raw .MXF files and convert them to Quicktime .MOVs. Or, alternatively, DVFilm Maker can output other types of files; if you had CineForm on your system you could output a CineForm .AVI, etc.

Jan being that the camera is shipping already, how about a pdf file with the user manual. It will help us get more familiar with the camera until we receive shipment. Thanks.

Starts with S, ends in Y.

I am, to a Sony broadcast HD monitor. It looks a hair sharper than my HD100, but is very close in 720. In 1080 it's not as sharp as XLH, but still very nice. This is ignoring lots of other factors, like latitude and lens behavior.

I think the great victory of the HVX will be how EASY it will be to get great looking HD...unlike the JVC which takes a lot of knowledge and practice. The ease getting good looking stuff, plus the simplicity of post will make it the choice, I think.