HPX300 Preview - In Africa!
- Thread starter Barry_Green
- Start date
Barry_Green
Moderator
I use EDIUS 5 and it has perfect integrated native support. Avid and qantel and other NLEs work as well. FCP supports it through log & transfer.
Jim Carswell
Well-known member
I posted this question in the HVX200 forum in the rumors discussion but didn't get a response. So I am reposting here in hopes that Barry or someone might be able to respond.
Will the 1/3" lenses that are touted as being built specifically for the JVC line of cameras work on the HPX300. I'm specifically referring to the Fujinon HTs18x4.2Berm-M48. It's a bayonet mount. It must be a higher quality lens than the stock lens on the HPX300 since it sells for more than $13 thousand at B&H.
Any thoughts or knowledge?
Again, sorry for the double post.
Thanks,
Jim
Will the 1/3" lenses that are touted as being built specifically for the JVC line of cameras work on the HPX300. I'm specifically referring to the Fujinon HTs18x4.2Berm-M48. It's a bayonet mount. It must be a higher quality lens than the stock lens on the HPX300 since it sells for more than $13 thousand at B&H.
Any thoughts or knowledge?
Again, sorry for the double post.
Thanks,
Jim
Barry_Green
Moderator
It is my understanding that AVC is an open standard. AVC-Intra is an optimized implementation of AVC in the same way XDCAM EX is optimized MPEG2.
Kenn Christenson
Well-known member
Anyone know if there's a manufacturer that'll be making a 35mm adapter for the 1/3" mount?
Barry_Green
Moderator
Yes, all the lenses that work with the JVc will also work with the HPX300.
I guess the better question is...Do 3rd party NLE vendors need to get a license from Panasonic, or can they implement it without the need to get one? (AVC Intra). I currently use Vegas and them and Panasonic have a long standing dispute about licensing issues. (Not picking sides, just stating what I k now).
n8ture
Veteran
Unless Barry changed it, the camera was always set to 180 degree shutter.
Course, I was always changing things up to try and get a decent exposure with the iris around 5.6 so I'd put in ND filters or jack the shutter up a bit to try and hit the sweet spot.
Course, it never failed I'd be focused on one hippo and Barry would be "Did you get that one yawning? Holy smokes did you get that?" And I'd be "No, I was focused on this one over here." So, I'd move over to another one and just as I did, the one I was just on yawned.
It was the same story with the zebra, buffalo, giraffes. You name it Barry would say "Did you get that zebra kicking the other one?" And I'd say " No, I was focused on this one over here."
First lesson in the DVD never have someone tell you all the fantastic stuff that you're missing!
Course, I was always changing things up to try and get a decent exposure with the iris around 5.6 so I'd put in ND filters or jack the shutter up a bit to try and hit the sweet spot.
Course, it never failed I'd be focused on one hippo and Barry would be "Did you get that one yawning? Holy smokes did you get that?" And I'd be "No, I was focused on this one over here." So, I'd move over to another one and just as I did, the one I was just on yawned.
It was the same story with the zebra, buffalo, giraffes. You name it Barry would say "Did you get that zebra kicking the other one?" And I'd say " No, I was focused on this one over here."
First lesson in the DVD never have someone tell you all the fantastic stuff that you're missing!
Bassman2003
Veteran
Barry,
How does the 10 bit AVC-Intra translate into an 8 bit editing environment?
10 bit sounds great, but if the NLE (like Edius) is only 8 bit, how does this help the image quality in the delivered product?
How does the 10 bit AVC-Intra translate into an 8 bit editing environment?
10 bit sounds great, but if the NLE (like Edius) is only 8 bit, how does this help the image quality in the delivered product?
Jan_Crittenden
Veteran
Edius is not 8 bit on the timeline or processing, only on the play out.
Best,
Jan
Best,
Jan
Bassman2003
Veteran
So in the end, how much does 10bit aquisition and post production help when delivering in 8bit?
Compared to 8bit aquisition, post & delivery?
Outside of keying or resurrecting footage, how much better will it look in the delivery stage?
Sounds similar to recording audio in 24bit only to deliver in 16bit on CD.
The 24bit sounds great when editing, but looses that sparkle when downsampled to 16bit.
Compared to 8bit aquisition, post & delivery?
Outside of keying or resurrecting footage, how much better will it look in the delivery stage?
Sounds similar to recording audio in 24bit only to deliver in 16bit on CD.
The 24bit sounds great when editing, but looses that sparkle when downsampled to 16bit.
AwakenedFilms
Veteran
Wow. I am impressed. Great review and beautiful pictures, Kevin and Barry.
For a while I thought the 300 was a figment of someone's imagination. Not a fan of wobbly footage, but there are so many positive features that I am nearly sold on upgrading - NTSC/PAL switchable would seal the deal for me.
I just can't believe technology has come so far this quickly!
Jason
For a while I thought the 300 was a figment of someone's imagination. Not a fan of wobbly footage, but there are so many positive features that I am nearly sold on upgrading - NTSC/PAL switchable would seal the deal for me.
I just can't believe technology has come so far this quickly!
Jason
Barry_Green
Moderator
Kevin will have to try to remember on the specifics; he frequently used faster shutter speeds.
DVD is in the queue but we have another one that will probably be released first, so give us a few months... :thumbsup:
Barry_Green
Moderator
That licensing thing is way overblown. Serious Magic used DVCPRO-HD, and they didn't pay a licensing fee. Canopus made their own version of the DVCPRO-HD codec, and they didn't pay a licensing fee. DVFilm made their own DVCPRO-HD codec, and they didn't pay a licensing fee. At least, that's how I understand it.
Sony owning Vegas has almost unquestionably complicated matters, as Sony and Panasonic aren't exactly the best of friends...
The AVC-Intra codec is a free download from the Panasonic site for both P2 Viewer and for Apple FCP (and it's not just FCP that works with it; Kevin and Shane have both shown me footage playing directly off the cards on their Macs, by just double-clicking the MXF file it brings up the QT player. It just works, thanks to the Calibrated MXF plug-in).
I don't know whether there needs to be a license paid or not. But I sure doubt it, since the codec is freely downloadable from the Panasonic site.
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Barry_Green
Moderator
It's my understanding that EDIUS is 10-bit internal, but the EDIUS hardware cards only support 8-bit. I could be wrong on that.
My delivered footage was all done in the raw codec, not in an editor, so I used the P2 Portable to export subclips. Kevin edited his stuff in ProRes.
I should test whether EDIUS is limiting the performance to 8-bit on uncompressed output... I don't know the answer to that one offhand.
Barry_Green
Moderator
I became a fan of negative gain, actually. It cleans up the image very nicely. I've seen 24dB of gain and I don't recommend it for normal use (hah!)
But normally I don't worry too much about parameters like that on a preview, because everything (and I do mean EVERYTHING) is subject to change in the processing. On our unit DRS didn't even work, so I didn't mention it in the article, although DRS can be very cool (when used under judicious conditions).
The noise on this camera is very different from the noise on any other Panasonic, owing to CMOS vs. CCD, so my tactic was to figure that we were shooting in daylight and noise wasn't desired, so we went to -3dB, coring +5, detail -2, and we toggled between BPRESS and CINE-D. I didn't spend any time playing with gained-up footage because it was a preview/prototype.
Frankly, what I'm saying is: if you like the footage you see now, I expect that the released version will only be better.
TwistedLincoln
Veteran
Just because the format is available via an openly documented spec and codecs can be downloaded for free from the vendor doesn't mean no license fees must be paid. It is almost certainly patented, and in order to implement it commercially you'd have to pay some kind of royalty.
Every Mpeg related format so far has been patented and heavily protected by Mpeg-LA, so I would imagine AVC-Intra would be no different. As for DVCPRO-HD, I'm not as sure, but it would be very suprising to me if it wasn't patented.
Software patents on multimedia codecs is one of the main reasons that most legal GNU/Linux distributions can't play back most standard multimedia file formats out of the box -- just becasue an implimentation exists and is written using freely distributable code doesn't mean those who created it and hold the patents aren't going to sue you for using and/or implimenting them.