AG-HPX500 P2 HD Camera Specs....

Thats what it kinda sounds like. My big question though is will it work with any of the more affordable 35mm adapters out there. I know the big boy PS technic would probably work, but thats pricey! The upside is larger sensors, so that will help offset the issue a bit more if you just keep the lenses long, and broadcast lenses are super fast with lots of focal length choice :smile:. I wonder how clean the sensors are. I almost bought an HVX200 after using one at work, but I'm holding off, waiting for something with cleaner sensors. This could be it, just gotta find a price sticker now....
 
It sounds like a 2/3" HVX, but with a lot more. True PAL/NTSC/50Hz HD/60Hz HD switchability, HD-SDI, GenLock, TC IN/OUT, interchangeable lenses, etc.

As for price, I've heard "the neighborhood of $15,000" bandied about at Government Video Expo. Only actual price I've seen quoted was "under 200,000 YEN", which translated at the time to around $17,000. So probably somewhere in that ballpark -- but keep in mind that's probably body-only, no lens.
 
Why is Pro always so Ugly?

Why is Pro always so Ugly?

A rhetorical question.

HVX is definitely hotter than this beast (although it sure sounds good!)
 
Looks good. I am still going to wait until we see what the next DVX/HVX camcorder upgrade will be. Not sold on HDV... International work not great for the P2 (yet)...

NAB just around the corner...
 
Man, that looks like a *really* attractive camera. I think I have a new favorite camera.

Just as the HVX brings amazing features to the "prosumer" range at the right price, so does thing bring the same amazing features to the professional/broadcast world at a great price!

I can totally see Rezfactor dumping his 450 for this one.

- Mikko
 
Does anyone have any leads on a 2nd generation HVX? This is more like the HVXs P2 big brother. Up until I shot my first HD short film, I was all ready to buy a nice 10K HVX rig (HVX + Nikon + M2 or SGPRO), but I was really turned off by the noise in the image. I've spent a few years working a lot with DSLR's, so my benchmark for quality is basically the amount of noise you see in a Nikon D70 at ISO 200 and well exposed (which equals not much!). Yes, I know thats a bit of an apples to oranges comparison, but thats the quality level I want noise wise. I'd totally jump on a 2nd generation HVX rig if it had better sensors (true 1080 would make my jump become a flight!).
 
cardmaverick said:
. . . so my benchmark for quality is basically the amount of noise you see . . .
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Well, that's why they make 2/3" cameras. You're never going to see an order of magnitude improvement in noise specs in a 1/3" CCD camera until you move to a larger CCD. That's why I chose to go with an SD camera, but with 2/3" CCDs (Sony DSR450). I am extremely happy with the DSR450's low-light performance and low-noise pictures, UNTIL I saw that RED is actually coming to market at only $17,500. Had I known RED would be at that price, AND would accept inexpensive Nikkor primes, I would've waited for RED and not bought anything.
 
Hum....guess I better start saving my pennies for a RED One. Does anyone know what the Redcine program specs are?
 
i djust dont get how your guys are gonna edit RED footage.... 4k RAW is like 75megabyes per frame.......
 
RedCode is going to reduce the data stream to about 200 megabits per second. Now, each uncompressed frame will still be massive of course, but the overall storage and data transfer rates aren't totally out of line from what we're already working with.
 
TimurCivan said:
i just dont get how your guys are gonna edit RED footage.... 4k RAW is like 75megabyes per frame.......
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Well, if I ever am able to dump my DSR450 and actually buy a RED, I won't be shooting 4K RAW as a matter of course. I'd be acquiring a fairly compressed, REDCODE-ed, smaller-rez image for sure, for most of my acquisition. For VFX plates, major stunt scenes, and other IMPORTANT shots, I would of course acquire in the highest quality possible--just not all the time.

BUT, if I managed to develop a fairly streamlined ingest/archive 4K workflow, then I WOULD acquire 4K RAW as often as possible and simply shelve the camera master archive media, and work with a lower-rez, compressed, downconverted version of the footage for my personal editing and small-scale distribution needs. If I'm ever so lucky to actually shoot something worth remastering using the 4K RAW camera masters, then I'll do that, IF I can sell the product for enough money to pay for the tools to accomodate a proper 4K finishing process.
 
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Other than the obvious recording medium, what is the difference between the HPX 500, HPX 2000(other than the optional AVC board) and the Varicam? Will the Varicam make another big drop in price soon?
 
Why doesn't Panasonic have the HPX500 on it's website?

Why doesn't Panasonic have the HPX500 on it's website?

Why doesn't Panasonic have the HPX500 on it's website?
I've seen the HPX2000 there, although it does not have a list price on it. I also played with one for a few minutes up at Abel Cinetech. But I haven't seen anything about the HPX500 anywhere but here. How is it different fron the HPX2000? Also, when is it supposed to come out?
Seamus+
 
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