HPX300 wth AVCINTRA announced

It's a bit ironic that the hpx300 has a great form factor for fast mobile handheld and other movement. And yet it has a CMOS sensor with a rolling shutter. There's things that can be done in engineering that can minimize the effects of wobble and skew in a rolling shutter, and most likely Panasonic like other manufacturers has done a good job of it. Perhaps better.

The SI-2K has a CMOS sensor and a rolling shutter, and when I was watching Slumdog Millionaire, I never noticed wobble and skew and this was a movie where the camera was constantly moving, panning, etc. I did notice the noise, but it fit the aesthetic and the vision. I was engrossed in the visual story telling and drama.

So for me, the technical differences between global/rolling/CCD and CMOS are not significant enough that I would prioritize them above dynamic range, resolution, mobility, ergonomics eyepiece placement, and all that other good jazz.
 
Djamel said:
Does this mean that DVCPRO HD is now obsolete and all Panasonic broadcast camcorders that will now be released have AVC-Intra capabilities?
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DVCPRO HD is hardly obsolete, it is a better codec than what else is in its price range. I mean if it was good enough for Planet Earth, its good enough for a lot of excellent programming.

I am unsure of the last question, it is technology that has to get downsized to fit in the handhelds, so we just have to wait and see on that.


Best,

Jan
 
I think format change doesn't mean what it meant before: There's actually no change of tape format anymore, nor does the workflow change. It's all P2 and it costs little to Panasonic to maintain older codecs on their cameras while evolving toward better and newer ones. They could really do so for decades without additional costs or hindering any tecnological progress.
 
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HDV is evolving into basically a tapeless format (HDV is inherently tape-based), and I know some shooters on both the XDCAM EX and HD systems that are using the "SP" (re: HDV) setting to save space on their cards or disks, and also in post.

Like you said, DVCPRO HD and the rest are here to stay.

David
 
joe 1008 said:
I think format change doesn't mean what it meant before: There's actually no change of tape format anymore, nor does the workflow change. It's all P2 and it costs little to Panasonic to maintain older codecs on their cameras while evolving toward better and newer ones. They could really do so for decades without additional costs or hindering any tecnological progress.
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That's an incredibly powerful statement right there. It affords Panasonic and us as users the ability to choose and shoot what it is that we need for any particular project.

If DVCProHD is right for your project or AVC-I....they are both there without the need to change to new media with every advancement.
 
It has a UniSlot so it can take any wireless receiver that complies with the UniSlot spec.

There is no wireless receiver built into the HPX300, but there's a slot there so it can take an onboard wireless receiver, such as by LectroSonics.
 
Azden makes the 1000 and 1200 line of Unislot receivers. But Azden is at the opposite end of the quality spectrum. Why would you not want to buy Lectrosonics, they are hands down considered one of the top wireless systems made. Why not buy the best?

Dan
 
I think i'll try and see if i can aford the Sennheiser EK 3241-U .
Sennheiser USA HQ is in the next town over from me in Old Lyme, CT

if i do get a HPX300 ......
Thanks, Paul
 
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I don't believe the Azden 1000 or 1200 are dual mode receivers. The Sennheiser dual receiver is about the same price as the Electrosonics SR and the Azden (around $1,800), but the Sennheiser transmitters seem pretty pricey at $2,500-$3,500 per. Seems like Electro is the way to go. Sony makes a slot-in receiver as well, but I don't think it fits into Panasonic cameras. You'd think Panasonic would list all the available slot-ins on its accessories page, but I've not been able to find such a list.
 
marco0782 said:
Why the insistence on ENG-style bodies? I mean, why do we need such a large hunky body when we are not housing a tape drive? These cameras are fine on a tripod or in the studio, but for handheld applications, they have poor ergonomics. I'm not talking about weight, either. The length is preposterous.

This type of camera is what Panasonic should be thinking about. Something that lets cinematographers achieve shots never before possible (this is the camera used on Slumdog):

SI-2Kmini_productpage.jpg



Marco
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Now that's what I'm talking about! I think I'm going to trash all my stuff, get one of these and go helmet mounted.

(humor intended).

BTW, is there an eyepiece or something so you can see what you're shooting?
 
BerkeleyBob said:
I don't believe the Azden 1000 or 1200 are dual mode receivers. The Sennheiser dual receiver is about the same price as the Electrosonics SR and the Azden (around $1,800), but the Sennheiser transmitters seem pretty pricey at $2,500-$3,500 per. Seems like Electro is the way to go. Sony makes a slot-in receiver as well, but I don't think it fits into Panasonic cameras. You'd think Panasonic would list all the available slot-ins on its accessories page, but I've not been able to find such a list.
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Hi,

Good idea on the list, and until I can get that to happen, there are three manufacturers that make compatible slot-in receivers. Azden, Sennheiser and Lectrosonics.

Best,

Jan
 
Very quite on the HPX300 form the last days, everybody is probably waiting for experiences buyers. I can't wait to see some more footage and what the limitations are:-)
 
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