HPX500 1080 vs 720

Between the same frame rates, sure. 1080 24p will move like 720 24p; 1080 30p will move like 720 30p.

But you don't even have to remove pulldown for that. Movies still look like 24 fps when shown on a standard TV, because they ARE 24 fps, only with a 3:2 pulldown inserted.

Same for 24p recorded in a 60i stream, be it 1080 or 480.
 
It a non-sens to shoot this days in 720p when a camera can shoot 1080p.

I made some short test, and it aprox. 15% more quality in 1080p images.
The dvcproHD100 have problemes at compresion levels whith 720p images.
So in 1080p you have more MTF, 1440x1080, less compresion artifacts.

All test i made with the HDX900 but it very similar in term of 720p vs 1080p.

I will post some frames in short time.

Gabriel Bordas
Terravisionpictures
 
There are good reasons to shoot 720 -- taking advantage of 720pN mode and space savings on the card, and definitely variable frame rates.

But if neither is an issue, then yeah, 1080 is the obvious choice.
 
David Jimerson said:
There are good reasons to shoot 720 -- taking advantage of 720pN mode and space savings on the card, and definitely variable frame rates.

But if neither is an issue, then yeah, 1080 is the obvious choice.
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And for sports. with 60p, you get solid images on fast movement, which is a problem in interlaced recording
 
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SPZ said:
Exactly. The HVX and HPX do shoot 1080p. Why is it called 1080i 24/25p? Because its embedded on the I stream. It fills the I cadence with progressive full frame pictures, basically fooling the 50i/60i to believe its transporting a full 50i/60i stream, but in fact is transporting a full 25p/24p stream.
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And yet the HPX3000 offers "true 1080p" recording described more or less as a breakthrough. How does the HPX3000 1080p differ from from the HVX and HPX500 1080p?
 
I guess what's confusing me is this statement from the company: "Panasonic is excited to announce the AJHPX3000, the industry’s first native 1080p one-piece camcorder for master-quality high definition video acquisition."

I assumed that meant the "native" 1080p made it different from the HPX500 and HVX 1080p, but I guess they're not saying that -- they're saying that it's the first camcorder attaining "master-quality" 1080p -- correct?
 
Tim Pipher said:
I guess what's confusing me is this statement from the company: "Panasonic is excited to announce the AJHPX3000, the industry’s first native 1080p one-piece camcorder for master-quality high definition video acquisition."
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On the Panasonic site it says "The AJ-HPX3000 is the industry's first native 1080p one-piece camcorder to capture master-quality high definition video."

I'm guessing the "first" is referring to the "master-quality," which is what they consider AVC-Intra 100. But it is a clunky train wreck of a sentence.
 
Master quality, being that HD-D5 is a de facto Hollywood mastering format, and the AVC-Intra codec is (according to Panasonic) visually equivalent to HD-D5.

"True 1080p" in the sense that there is no concession to an interlaced codec in the format; it's stored as pure progressive frames and not as segmented fields like everything else.
 
But their is absolutely no difference in the final product, ie true progressive 1080 under both of the following conditions.....
1) if you shoot it with an AJ-HPX3000 using AVC-Intra 100 codec or
2) shoot it with an HVX200 via 1080i/24pa and process through FCP. HVX200 captures and records true progressive 1080, then converts that to 1080i to feed an interlacing format so the NLE (FCP) is able to make sense of it, then the NLE reassembles it back to it's ORIGINAL progressive 1080 format.

The bottom line is both cameras result in TRUE PROGRESSIVE 1080p24. But you MUST send it to the NLE as a 1080i/24pn. My first clue was that FCP does not provide for a capture preset for DVCPRO HD 1080i/24p. Only the 1080i/24pn.
 
Barry's response is exactly what I have figured out after bouncing around dvxuser for the last 2 days. Unless variable frame rates are a big deal I think it's best to shoot 1080i/24pa. The camera first records true progressive 1080, then converts to 1080i which is fed into FCP so it can make sense of it, then FCP converts that BACK INTO the orignial true progressive 1080. So now you have footage for the future when all those 1080p HDTVs make the scene in the next 2-3 years. And you can always convert your footage down to 720. Even better, shooting in 1080i/24pa allows the best digital to film conversion. So your footage can be displayed on film. Unless I'm missing something big and unless you are shooting a sport event with 100 mph fastballs, then I'd shoot 1080i/2pa everytime.
 
avc 100 is a 10 bit codec. Add to that the 2/3 native 2.2 megapixels 3ccd's of the camera, and you have one hell of a camera that smokes everything from a f900 to the HVX200. However, I would like to see how it fares compared to, say, a f950 or the new sony camera with the integrated sr recording (HDCAM SR records 10bit 4:4:4, according to sony). AVC100 records 10 bit 4:2:2, I believe.
 
Sorry to jump into the mix here but I want to make sure you all are saying (or would agree) to shoot 1080/24pA not just p with the HPX500. Yes?
 
Yes, if editing on FCP or EDIUS or Premiere Pro or almost any other editor. No if editing on Avid, unless Avid's recently introduced 24pA support that I'm not aware of?
 
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