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    #31
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    Schmovies production

    1980 x 1080 25p you can get from the Pal 1080i. Field A and Field B will be the same in the video stream.


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    #32
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    Well, 25p won't be available until the European/Oceanic version starts shipping about a month from now.

    As far as 1920x1080, the answer is yes and no. Yes, in that the proper uncompressed unsqueezed aspect ratio of the HVX is 1920x1080.

    But no, in that no camera (not even HDCAM) records 1920x1080, they all subsample, usually to 1440x1080. The HVX, HDV, and HDCAM all record 50hz at 1440x1080.

    But when you bring it into your editing program and "unsqueeze" it to properly display it, you're looking at 1920x1080 at that point.


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    #33
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    Quote Originally Posted by SergejIvanovits
    Field A and Field B will be the same in the video stream.
    Not quite correct. Field A and Field B will be from the same moment in time, but they won't be the same. If they were the same, you'd be looking at field-doubled video (like CineFrame 25). In the HVX 25P, the fields will contain different information, but will have been captured at the same instant in time.


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    #34
    Senior Member Schmovies production's Avatar
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    it seems i have to rent a cinealta to fit the specs requested. here in rome is 1000 euros per day. the job is scheduled for june and for that time i would have use an hvx package i'm building.
    barry, it seems you never sleep.


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    #35
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    I'm going to put my 2c (technical, not artistic/creative) in here: pixel shift works perfectly when shooting B&W objects (like resolution trumpets etc), because the object in front of the camera has green AND red AND blue in it. My question is: what hapens to the resolution of the camera when you shoot something which does't have one of the colours used in "creting" the extra res? What if you shoot a night scene where green is missing almost completely? How are you going to take advantage of the pixel shift if there's nothing (or almost nothing) going on the shifted CCD? IMHO this technology should be called "daylight HD", because as soon as you change the colour balance (lack of blue or green), you're back in the good'ol SD world...


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    #36
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    Quote Originally Posted by Barry_Green
    Not quite correct. Field A and Field B will be from the same moment in time, but they won't be the same. If they were the same, you'd be looking at field-doubled video (like CineFrame 25). In the HVX 25P, the fields will contain different information, but will have been captured at the same instant in time.
    Yes, it is correct. Actually it was what I wanted to write. It works like the Pal DVX in progressive mode but with higher resolution. Or if someone exports an interlaced video from a timeline using only stills. Fields are from the same frame but contains different information.


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    #37
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    Fascinating. I find it interesting that they're the same principle as Juan is with the Andromeda. I wonder if they decided on the pixel count before or after hearing about Juans work... that would be interesting to find out!
    Do not seek to follow in the footsteps of the men of old; seek what they sought.

    -Matsuo Basho


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    #38
    Junior Member ccaillouet's Avatar
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    My question is: what hapens to the resolution of the camera when you shoot something which does't have one of the colours used in "creting" the extra res? What if you shoot a night scene where green is missing almost completely? How are you going to take advantage of the pixel shift if there's nothing (or almost nothing) going on the shifted CCD? IMHO this technology should be called "daylight HD", because as soon as you change the colour balance (lack of blue or green), you're back in the good'ol SD world...
    You have described how color difference component color systems work. While some detail comes from the pre-filtered red and blue signals, most of the image detail and most of the image enhancement (detail) information are derived from the green channel because that is where 70% of the HD luma signal comes from (it was 59% in NTSC.) Unless you are able to select detail from G+R+B, which often significantly increases noise, you will lose at least half of your resolution in saturated colors. The result is that heavy blue or red lighting in a concert causes cameras to go very soft. This can be a problem, but the good news is that the human visual system is much less sensitive to fine detail in color than in luma. That's why color component systems work.

    So, while there is an issue with loss of resolution in color, it is not a new problem and not confined to the HVX200. In fact, if you are really worried about this phenomenon, you might be very unhappy with the CineAlta color reproduction of just 480 recorded color samples per line in each of the color channels. In normal shooting, it is not a big issue. Color matting can be a different story. If you are not already careful of this problem in your shooting, you probably shoot "normal" scenes and shouldn't have much problem with the HVX.

    Panasonic's new paper reinforces my advice to not get too caught up in the numbers and lose sight of the big picture. The truth is that, while resolution is one of the parameters of high definition, reproduction of the highest resolution is seldom the most important aspect of a "good" picture. Focus, good mid range contrast, good color and lack of artifacts are all important, and content is still king. Make an image that does not distract the viewer from your compelling story and you will have a hit.

    Go shoot!

    cheers,
    crc


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    #39
    Senior Member Justyn's Avatar
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    I predict... 20 pages in relatively short order on this thread. Personally, my mind slips into an oily blackness when this type of tech talk starts... I think it's best just to get thing out in the open so that rampant speculative "wankerism" will be curtailed eventually. Kind of like when an athlete comes forward and says.. yes, I shrank those gloves, and yes I killed my wife and her delivery boy boyfriend... instead of just driving around in a bronco and acting nuts... Just come clean, baby.


    I have seen nothing but beauty coming from my friend's HVX. Pixel whatnot and shifting info aside, this is a sexy beast of a camera... I hope that the 14 people in front of me at AVS decide.. hey, this isn't the cam for me and let me waltz right in next week and grab one.


    So, there is a rumor in the air about massive shipments? Kudos to Panny for releasing this... now only if they'd give those box of steaks out like the canon is doing.


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    #40
    Senior Member redindian's Avatar
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    Kudos to Panny for releasing this....
    I donno why everyone keeps saying this.... its more like there were democratically forced to do this... why?
    1. the cat was out of the bag (read steve mullen's spot-on analysis - he declared it is exactly 960X540)
    2. they already got the word out and won the hearts and minds....
      Imagine, if this info was out at NAB2004, and some Panaboy goes on to trash HDV codec or JVC split screen... the Canon/JVC/Sony owner would just say.."hehe - you have a tiny ---, go play with it"
    3. They were getting a bad rap on suppressing information (remember the flak Google got for sensoring in china)
    So its more like they were made to do it....

    Just like JVC was forced to acknowledge the split-screen and battery issue (by offering free batteries) - where there they were voted with the wallet... shrinking JVC sales...
    Last edited by redindian; 02-25-2006 at 01:12 PM.


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