New cams! 1080p60! Panasonic HDC-HS700 & HDC-TM700

Yes it is.

I download the mts file, and converted it to pro res.

Grabbed a screen as well, and it looks fabulous.

It really does.

I would love to see some pans and assess the skew.
 
David S. said:
Yes it is.

I download the mts file, and converted it to pro res.

Grabbed a screen as well, and it looks fabulous.

It really does.

I would love to see some pans and assess the skew.
Click to expand...
The detail is amazing. If you told me that it was a photo taken with an SLR, I would believe it. What I do find perplexing is that the CCI review said the TM700 had disappointing sharpness in photo mode. I am baffled by that.
 
John_in_NY said:
The detail is amazing. If you told me that it was a photo taken with an SLR, I would believe it. What I do find perplexing is that the CCI review said the TM700 had disappointing sharpness in photo mode. I am baffled by that.
Click to expand...

Looks like it does well with a screen grab rather than photo mode... I'd like to get one of these as a B cam to my HMC150. How does the mic do in the wind?
 
David S. said:
Yes it is.

I download the mts file, and converted it to pro res.

Grabbed a screen as well, and it looks fabulous.

It really does.

I would love to see some pans and assess the skew.
Click to expand...

David- what program did you use to convert? Also what version of FCP are you using (FCS2 or 3?). And the last question- what settings of ProRes did you use- FCP6 only has 1080/60i , 1080/30p or 720/60p. Thanks for the info
 
I export using ClipWrap2.

It has a free demo that enables you to export up to a minute. I exported to ProRes422HQ. Then opened it in QT 7 and export a frame.

As to iMovie, it will only import to AIC. No Mac app other than Premiere handles mts natively.
 
David S. said:
I export using ClipWrap2.

It has a free demo that enables you to export up to a minute. I exported to ProRes422HQ. Then opened it in QT 7 and export a frame.

As to iMovie, it will only import to AIC. No Mac app other than Premiere handles mts natively.
Click to expand...
Thanks David, but I am still confused. Like I said (regardless if you use Clipwrap or Toast or FCP to transcode) the ProRes and ProRes HQ only uses 1080/60i or 1080/30p or 720/60p- there are no options in FCP for editing 1080/60p, even in transcoded options. So my question was specific to what frame rate did you choose for your ProRes HQ?
 
I'm about ready to order. I'm looking for any info that my help me decide which to buy -- the HS700K (HDD version) or the TM700K (32MB built-in Memory version). Price isn't really the main concern. I'm more interested in things like possible audio noise due to HDD, possible HDD problems due to shaking around on a motorcycle, or other factors/benefits I'm missing here. I can see there is a very slight difference in dimensions between them for some reason.

If there isn't any HDD noise (this is the biggy for me), I like the idea of the extended record time 240 Gigs has over 32/64/96 Gigs. I know swapping out a card isn't a big deal, but it my need to be swapped out at the wrong time or wrong place.

Are the cases plastic or metal? Are both made from the same material?

-Rodger
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I used the default frame rate.

But I didn't edit the footage, nor did I try.

Just converted it, and it settled at 59.94
 
David S. said:
I used the default frame rate.

But I didn't edit the footage, nor did I try.

Just converted it, and it settled at 59.94
Click to expand...

Since you have FCP you also have QT Pro, so if you right click on the file go to "get info" button. Also if you import the file into FCP it will give you file info in the browser. Have you tried to dump the file into a new timeline? It should reset itself to new settings automatically. Like I said, I am a bit curious about it, camera looks like a killer B-roll, but I am worry a bit about the workflow. ProRes might keep it at 60 fps, but it would mean that FCP would treat it as interlaced footage not progressive.
 
With regards to the built-in microphone, it's pretty much like other built-in microphones. It might be useful under very specific circumstances (ie. completely perfect conditions) but if you want quality audio, you'll need to use an external mic. The TM700 works well with a Sennheiser wireless setup.

The cold shoe mount is actually quite sturdy. Once it's clipped into the side of the camera, it won't budge.

The camera is built of a mixture of metal and plastic -- mostly plastic. Build quality is sturdier than my Canon HV20 but I wouldn't want to drop it.
 
Thanks for the helps guys. If the altitude limit for the HHD model is a real one, that pretty well moves me to the TM700K as we will be using it at altitude alot of the time I'm sure. Living in Colorado, we have highways that are 11,000 ft here, so just idle use could be a problem at times. I have a Sennheiser wireless (which I may use where setups allow), but I want to use digital recorders for voice and plan to use the 5.1 built-in for background sound and effect -- On and off bike.

While traveling, we will be using bike to bike communications tied into chatter boxes, which will allow us to listen/talk to each other and will also be tied to a digital recorder on each bike using the built-in "rider to passenger" connects. This will give us both sides of any conversation as well as allow the camera to record 5.1 sounds that may add some depth to the viewer experience. We've used bike to bike communications before and although it works well at 50 MPH or below, higher speeds add quit a bit of wind noise on V-Stroms as they are not exactly what you would call a "touring" type of bike. We may opt for better windscreens/fairings to help with the wind, but this style of bike will never be quiet like a Gold Wing. I am currently looking at different types of mics to limit noise, so depending on what I can find, wind noise may not be too big a headache.

I'm working on ideas for camera mounts as well. I need to be able to quickly move the camera to different positions on each bike for various effects. I want a tank mount which looks through the windscreen ahead and is stationary to the bike. I want a mount attachment to the center of the handlebar for panning shots, some low mounts off the frame for "street level" shots, and would like something behind the rider (looking foward) using a wide angle lens to show as much of the bike and rider as possible. I'm thinking most of the shots from the bike will be off the tank, as this gives nearly a "steadyshot" in reference to the bike, but some of the other camera positions will add to the overall riding effect I hope to provide.

I'm still debating if I should buy 2 cameras. There are only 2 of us so a single camera could get us by, but I just think having some second camera angles to mix in will only improve the story and action.

Thanks for the helps.

-Rodger
 
My main question is regarding the 1080 60p. Seems everywhere people are saying you currently can't work with it natively.

Since the whole purpose (to me at least) for wanting to shoot 60p would be for slow motion, is it safe to assume that I could just pull up a 1080p30 timeline in CS4 and drop in a clip from this thing and reduce clip to 50% and get smooth slow-mo, or will it not "see" the whole 60 frames and drop out every other frame?
 
marjamar said:
Thanks for the helps guys. If the altitude limit for the HHD model is a real one, that pretty well moves me to the TM700K as we will be using it at altitude alot of the time I'm sure. Living in Colorado, we have highways that are 11,000 ft here, so just idle use could be a problem at times. I have a Sennheiser wireless (which I may use where setups allow), but I want to use digital recorders for voice and plan to use the 5.1 built-in for background sound and effect -- On and off bike.

While traveling, we will be using bike to bike communications tied into chatter boxes, which will allow us to listen/talk to each other and will also be tied to a digital recorder on each bike using the built-in "rider to passenger" connects. This will give us both sides of any conversation as well as allow the camera to record 5.1 sounds that may add some depth to the viewer experience. We've used bike to bike communications before and although it works well at 50 MPH or below, higher speeds add quit a bit of wind noise on V-Stroms as they are not exactly what you would call a "touring" type of bike. We may opt for better windscreens/fairings to help with the wind, but this style of bike will never be quiet like a Gold Wing. I am currently looking at different types of mics to limit noise, so depending on what I can find, wind noise may not be too big a headache.

I'm working on ideas for camera mounts as well. I need to be able to quickly move the camera to different positions on each bike for various effects. I want a tank mount which looks through the windscreen ahead and is stationary to the bike. I want a mount attachment to the center of the handlebar for panning shots, some low mounts off the frame for "street level" shots, and would like something behind the rider (looking foward) using a wide angle lens to show as much of the bike and rider as possible. I'm thinking most of the shots from the bike will be off the tank, as this gives nearly a "steadyshot" in reference to the bike, but some of the other camera positions will add to the overall riding effect I hope to provide.

I'm still debating if I should buy 2 cameras. There are only 2 of us so a single camera could get us by, but I just think having some second camera angles to mix in will only improve the story and action.

Thanks for the helps.

-Rodger
Click to expand...
I use a tank mount from Sportbikecam.com and it works great with my Pentax K-7 except for the CMOS jello effect.
http://vimeo.com/6932676
http://www.youtube.com/watch?v=WsGRv6IBkiQ

BTW I didn't use my Rode Stereo VideoMic since the internal Mic didn't pick up much wind noise. I do use my Rode when riding my mountain bike .
With:
http://www.youtube.com/watch?v=KsB5dtJTWz0

Without:
http://vimeo.com/6266472
 
I just used Cinema Tools to conform a 1080/60p clip to 23.98 and it produced as buttery a slow motion as I've seen.

I just wish I had some fast motion clips to truly test, but it looked pretty damn good.

Can I say "damn" here?
 
Earlier today, I had a chance to pop into a local camera shop and check out the HDC-TM700. So far, I'm pretty impressed with how much capability there is in such a small package.

After reviewing its specs in more detail, I'm finding myself kinda torn between buying it and the AG-HMC40, which is about $1000.00 more, but doesn't seem to offer a whole lot more capability beyond better zoom and manual focus controls and the ability to accept XLR mics - if you buy the optional XLR adapter and mic (which, by the way, sells for an outrageous $900.00 here in Canada).

One thing I don't understand is why Panasonic didn't use a higher-resolution LCD display instead. The one that's on the HMC40 now resolves only 230,000 pixels, just like the one on the TMC-700. I can understand a bit of cost-cutting might have gone on to deliver the HMC40 at a specific price, but not when it's being marketed as a pro camera. I mean, how much more money would a better LCD display have added to the price?
 
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