Originally Posted by James Brill (Post 846026)

It only outputs 60i correct? For example, if you filmed in 1080/24p and wanted to capture or send to tape via the hd sdi output the camera puts a pull down in it.

Originally Posted by Steven Thomas (Post 850632)

In fact, this is how data is stored on DVDs. 24P Movies are encoded to DVD interlaced with pulldown. Progressive conversion can be performed digitally inside the progressive player. Since DVDs must have the ability to display interlace, they must be stored in that format.

Originally Posted by Craig Seeman (Post 802883)

Juan Martinez, Senior Manager Technology, Sony, posted the following in another forum regarding the EX1, color space and keying. I thought it was so important given the 4:2:2 vs 4:2:0 arguments I've seen, I'm posting it here. Juan, if you're looking in I'm sure you won't mind it. It's important to get this info out there.

"Actually, the Ex1 outputs honest to goodness 10-bit 4:2:2 at all resolutions via its built-in HDSDI/ SDI interface."

"Now, a word about "color space". In the old SD days, 4:4:4, 4:2:2 and 4:2:0 had absolute meaning and direct correlation to the picture quality (luminance and color resolution). In the case of HD, 4:4:4, 4:2:2 and 4:2:0 are relative. Thus, these ratios have no "real" meaning anymore. Therefore, it would be possible for an HD format with small luminance and color spatial resolution to claim 4:2:2... so, the only way to compare is to count the actual captured pixel resolution. Once, you know the exact number of luminance pixels stored, you can apply the ratio to compare apples to apples (for a given aspect ratio)."

"For compositing, all that is necessary is for color sampling to be tight enough for the keyer to effectively detect the edges. You will find that Ex captures 960 color pixels in the horizontal direction capturing a higher color resolution than some HD formats. The color sampling is also halved in the vertical to 540, which is still suitable for good keying. Lastly, at the core of modern compositing engines are sophisticated keying algorithms that even look at luminance transitions to more accurately detect the edges. Please try keying with Ex 4:2:0. I believe you will be surprised how good keys you will be able to achieve."

"Sorry for the long winded reply. I hope it helps."

"Juan Martinez
Senior Manger Technology
Sony Electronics"

Originally Posted by Eric Pascarelli (Post 864525)

At present it's 24p embedded in 60i with pulldown.

In my conversations with Sony reps at NAB they indicated that there would be real 24p with a firmware update in August.

Originally Posted by George Kroonder (Post 864608)

After the update it should. However 24p embedded in a 60i sream is not a problem as most capture software can do the pulldown automatically, capturing clean 24p.

[crap lost my message, retype]

HS SDI field recorders can be quite expensive, but the Convergent Design Flash XDR is close to release at ~$5k (ex flash cards). The Cineform recorder is even less expensive (half?) but uses HDMI, so needs an adapter/converter to take the HD SDI. A bit more 'upscale' is the colorspaceinc.com Icon which uses drive packs and starts at about ~10k I believe.

I believe most solutions currently use either a PC/Mac with something like an AJA or Blackmagic card to ingest the HD SDI directly.

There is also the AJA Io HD device to capture full raster 10-bit HD SDI using a Macbook Pro in ProRes 422 only. And Matrox is releasing the MXO2 this summer to add codec agnostic ingest/capture with bells on it (including HD SDI) to Macbook Pro's.

George/

Originally Posted by Greg Boston (Post 850616)

Like most cameras that record in 4:2:0 with an HDSDI output, the camera will give true 4:2:2 output only when the signal is taken live from the camera head. After recording, what comes out is 4:2:0 upsampled or wrapped in 4:2:2 in order to comply with HDSDI specs.

In live mode, it's confirmed that the EX1 outputs a true 10 bit HDSDI signal.

-gb-

Originally Posted by Jerry Matese (Post 851478)

Still looking for a clear answer here.
Does the EX output true 4:2:2 1080P from the HDSDI port?

Originally Posted by Dean Gough (Post 864855)

Just watched an interview with Bob Ott, vice president of Sony Professional. He was promoting the new EX3. One issue during the interview which surprised me was that the SDI out is hobbled with 4:2:0 output and not 422 as one would expect. This interview is available at FreshDV from their NAB series.

Why why why do that??? Totally lame if you ask me. The good old Canon H1 does 422.

Originally Posted by Steven Thomas (Post 864872)

Hmm.
This I have to hear... I actually find it hard to believe. Since the bulk of the internal camera head and processing is the same as the EX1, why would they change it...

Originally Posted by Barry J. Anwender (Post 865012)

I'd also say he got confused because the interviewer first blurted out 4:2:0. The response was delayed a bit before the Sony Exec answered and I could see him trying to develop an answer. Then a bit latter he mentions that the EX1 will be firmware upgraded to the same EX3 capabilities.

The EX1 has been confirmed to be 4:2:2. Sony is not going to take a step backward with the planned firmware update. Stop and think about it. The EX3 is intended for studio work which today relies heavily on chroma keying.

Originally Posted by Danny Hidalgo (Post 866906)

I would love to see actual footage of this method, with a cross comparison to capturing 4:2:2 live from camera, versus just capturing to card.

Anyone find any footage taken at this point?

Peace and Blessings,
Hidalgo

Originally Posted by Greg Boston (Post 865535)

With all due respect to Bob, I believe he mis-spoke in the heat of the interview.