Brand New Panasonic AJ-HPX2700 for $19.5k?!?

Fine a Ex1 or Hpx300 will give you 1080p in some sort, both with smaller imagers than 2/3". But adding a recorder or a 35mm adapter and the ergonomics won't fit all types of production.

I can't imagine say Topgear on BBC or American chopper on Discovery relpacing their EFP style main cameras with a EX1 with bits and pieces all over the place to match the onboard capabilites of say a Hpx3000 or HDX900. Actually quite interesting to find out what gear BBC choose to shoot Top Gear in as they moved to HD this season.

In the same way I cant imagine a Hpx3700 on extremely high end films..

And how many in the real world need 4:4:4?

Different trades different tools...or something in that direction:happy:
 
> I can't imagine say Topgear on BBC or American chopper on Discovery
> relpacing their EFP style main cameras with a EX1...

I can't imagine all prior series of Top Gear have been with SD cameras. There was a Polar Special though, it looks SPECTACULAR in HD.

I've heard that TG shoots in interlaced mode and deinterlace later. How "home movie" is that?
 
Cranky said:
> I can't imagine say Topgear on BBC or American chopper on Discovery
> relpacing their EFP style main cameras with a EX1...

I can't imagine all prior series of Top Gear have been with SD cameras. There was a Polar Special though, it looks SPECTACULAR in HD.

I've heard that TG shoots in interlaced mode and deinterlace later. How "home movie" is that?
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As far as I can read different blog's at BBC, as with others, this comes down to cost. HD adds x amount of cost to a programme. When BBC broadcasts Top Gear in SD and most likely most sales of it are SD, why spend say 20% more on production if you can't justify this by earning 20% more(or at least in the "past").

And what goes for TG's production/post, the result speak for them selves..
 
I apologize, I misread the HPX3000 specs. I thought it could output 4:4:4. I also emphasize my interest is in features, mainly scifi and horror, not reality based programing. So the camera would be sitting on a tripod, a gearhead, or a crane.
If I was doing syndicated sports programs, any sort of live event..I would much rather shoot 720x60p. Perfect aquisition format for SD or HD.
I also did not compare the HPX300 to a 2700, 3000 or 3700. Believe it or not, I actually know better than that.
But an EX3 with adaptor, hooked up via SDI to a Kona or similar is a pretty good setup. I've seen the results of that type of workflow, and it looks very good IMHO.
 
dadoboy said:
I don't work for $100 / day anymore or anything close to that. But I am aware that working sometimes for lower rates will get you more work, more contacts, and keep you in the loop. When I was going out for less, I definitely worked more, and work leads to more work, which in turn leads to better paid work. A kind of critical mass can build up.

But I have way more expenses and stuff than most guys and I need to keep clearly in the black. Recently, my grip/electric friends have gotten me a fairly steady gig for that has a healthy rate so I have had to turn down some lower paid AC gigs that were offered which again, can be a bad thing since I am basically saying no to jobs and working relationships, in lieu of more $$$.

It helps to be flexible and to have multiple skills, but often crew people specialize in just one department. I do have experienced, talented, friends who are always desperate for work. It's not an illusion from my perspective, that times are slow here and elsewhere.

I hope you get that 2700 Dan! :)
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i hear ya. my monthly nut is pretty high as well (mortgage, car payments, kid, debt, gear habit, etc.) and when things are slow i get pretty anxious. i agree that things have slowed down in general and the gravy train is off the tracks. i hate to hear about people being desperate for work as well. i just think that in this business we have opportunities to make money from several angles. we may get comfortable at times when jobs are plentiful and start to think of our work as a "normal" job. but in times like these we need to remember the flexibility that being freelance offers and sometimes requires... taking $100/day gigs when you know you are worth so much more is a bite but it could be much much worse...
 
Thanks so much for sharing your prespective guys!

This thread has been very thought provoking. It re-enforces my own decisions and strategy. I have a family and bills like everyone else. I am not in the industry "full time".

This discussion makes me grateful for the projects I am working on....and most importantly....it seems to me like:

if you're in it for the money....you won't be around for long!

That IS NOT meant to slight or understate any of the obvious and sincere suffering that is happening to people who ARE FULL TIME in the industry. (A true dream for many of us.)I'm just saying that for someone who only shoots on the weekends....to say that I'm going to sacrifice my time for some future payoff is NOT LIKELY. My strategy is to do it for the "love of cinema", "love or art", "love of story telling". Any financial gain would be above and beyond. I KNOW that's not reasonable for people investing in 20,000 cameras like those in this disucssion. I KNOW that's not the purpose of this discussion....but it is inspiring none-the-less.
 
Christian m said:
As far as I can read different blog's at BBC, as with others, this comes down to cost. HD adds x amount of cost to a programme. When BBC broadcasts Top Gear in SD and most likely most sales of it are SD, why spend say 20% more on production if you can't justify this by earning 20% more(or at least in the "past").

And what goes for TG's production/post, the result speak for them selves..
Click to expand...

That's odd, since 720p converts to 480i or 1080i quite easily with todays technology. Shouldn't cost anymore than SD aquisition (in either time, equipment or money).
 
Panasonic had to see the PMW-350 coming (no real secrets anymore). Could that explain the price cut for the 2700?
 
I tend to agree. The PMW350 is a step up from the EX3, the HPX2700 is the second to top of the line. Even with the body at $19.5k, a good lens costs even more than the body and you need a good tripod and battery system. So realistically, the 350 can be had with lens, battery and support for about $27k vs. the same type of setup with a quality HD lens would run closer to $50k with the 2700. I can't see buying a 2700 and then putting on some piece of junk low-end lens, you would need a good piece of glass to make the 2700 worthwhile.

Dan
 
emretufekci said:
Unlikely, The guys who use the 2700 would not alternate with a PMW-350.
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What? These are definetly the same market. I am sure so
one considering the 2700 would get the 350.

350 sounds like an amazing animal! We are talking f900 quality for very low price!
 
Smart ones will wait for further field tests using HDSDI out. If street prices w/lens come down to around 17K USD, I think Panasonic will have a street fight on it's hands for new owners.

But I think Barry Green is right. The era of the very high priced 2/3" camera is coming to a close. Great glass will always be expensive, no matter what body you attach it to.

I actually think the new PMW350 has more in common with the hvx3000 than the 2700.
 
Nik Manning said:
What? These are definetly the same market. I am sure so
one considering the 2700 would get the 350.

350 sounds like an amazing animal! We are talking f900 quality for very low price!
Click to expand...

Check your specs again, they are nowhere close.

We bench test everything, we have put the Sony 900-950-F23-F35 as well as the Panasonic 200-2700-3000-3700 through the ropes and have a pretty good understanding of their capabilities/Limitations.

Of course without the 350 in hand we are only basing our opinion on conjecture but we should have that resolved come January.
 
zeke said:
Smart ones will wait for further field tests using HDSDI out. If street prices w/lens come down to around 17K USD, I think Panasonic will have a street fight on it's hands for new owners.

But I think Barry Green is right. The era of the very high priced 2/3" camera is coming to a close. Great glass will always be expensive, no matter what body you attach it to.

I actually think the new PMW350 has more in common with the hvx3000 than the 2700.
Click to expand...

Read the specs or test the cameras.
 
emretufekci said:
Check your specs again, they are nowhere close.
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I realize this is the first day of the PMW-350's announcement, but how can you say the two cameras are nowhere close?

The only difference is the CMOS vs CCD.

And the fact that the Sony has full raster chips.

Codecs are different, but say they were both recording to a Nanoflash.

How different would they be?
 
Bassman2003 said:
I realize this is the first day of the PMW-350's announcement, but how can you say the two cameras are nowhere close?

The only difference is the CMOS vs CCD.

And the fact that the Sony has full raster chips.

Codecs are different, but say they were both recording to a Nanoflash.

How different would they be?
Click to expand...

I am just going to have to take example from McGee and bow out of the discussion.

Cheers,
 
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