Panasonic Removable Lens Four Thirds HD AVCHD Camera

Oedipax said:
http://www.vimeo.com/4334428

Motorcycle test. Feel like I'm seeing some jello, although it's a heck of a lot better than what the D90 would look like under those conditions.
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Yes, you'd expect to see at least some CMOS image sensor motion artifacts, in this case "vertical jello", as the motorcycle abruptly bounces up & down. In the video, the utility poles' apparent height stretches & squeezes as the cam's CMOS chip scans the scene from top to bottom while the bike bounces. :shocked:

Some experimentation on the part of the camera operator may yield an appropriate solution to minimize this effect. It seems clear that "hard mounting" a CMOS cam to a motorcycle isn't likely to produce visually appealing results compared to using a CCD-based cam.

I don't know if cushioning a CMOS cam (such as with foam rubber), or using a lightweight steadicam-type arm, would improve the results or not. Finding a good solution could be fun for those who appreciate a challenge, motocycles and video cameras.

- Peter
www.peterdv.com
 
You are correct, GH1...I will refer to it correctly in my future posts. The 1080p24 mode is a 2:3 pulldown over 1080i60@17.4Mb/s which is 13.7Mb/s. However, the 1080p25 is a 2:2 pulldown over 1080i50 and would have a full 17.4Mb/s bandwidth.

Do we know if the US cameras will have the PAL capability? I believe the HPX301 supports both PAL and NTSC and the US HPX300 only supports NTSC.
 
Kholi said:
The 1080p24 mode is a 2:3 pulldown over 1080i60@17.4Mb/s which is 13.7Mb/s.
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H.264 is both variable bitrate and a feature-extraction oriented codec. This means that rather than encoding the duplicated fields, the codec can just say "right, this one is exactly the same as the last"... and that takes essentially no bandwidth.

Thus each of the 24 frames gets its 0.708Mbps of bandwidth.
 
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LizaWitz said:
H.264 is both variable bitrate and a feature-extraction oriented codec. This means that rather than encoding the duplicated fields, the codec can just say "right, this one is exactly the same as the last"... and that takes essentially no bandwidth.

Thus each of the 24 frames gets its 0.708Mbps of bandwidth.
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Thank you for explaining that. People keep giving out misleading information about this.
 
Why it is always some idiot ruins an otherwise great product? Why did Panasonic go with 24p-over-60i? Its "normal" camcorders like HS9/SD9, HS100/SD100 and apparently HS300/TM300/SD300 record in real 24p, no pulldown. The HMC150/40 also record true progressive. Why the heck Pana went one step back? Who was the imbecile who authorized this for production?
 
LizaWitz said:
H.264 is both variable bitrate and a feature-extraction oriented codec. This means that rather than encoding the duplicated fields, the codec can just say "right, this one is exactly the same as the last"... and that takes essentially no bandwidth.
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Yeah, yeah, yeah, the repeat flags from MPEG-2 stream (I guess, now called just MPEG stream). Do you know for sure that flags are used instead of hard telecine?

Whatever the case, Vegas treats it as 60i, which SUCKS!
 
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Cranky said:
Why it is always some idiot ruins an otherwise great product? Why did Panasonic go with 24p-over-60i? Its "normal" camcorders like HS9/SD9, HS100/SD100 and apparently HS300/TM300/SD300 record in real 24p, no pulldown. The HMC150/40 also record true progressive. Why the heck Pana went one step back? Who was the imbecile who authorized this for production?
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The SD100 records 1080i50 as per manual. What about the others I don't know
 
EEG said:
The SD100 records 1080i50 as per manual. What about the others I don't know
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The 50Hz records 25PsF, but it does not really matter whether it is PsF or true progressive. The 60Hz records true 24p, you can take my word for it, I checked.
 
He's got a point. it would have been nice to have a fixed 17mbp/s at least in 1080 | FHD mode. Oh well. Firmware or something. It is what it is.
 
Cranky said:
Why the heck Pana went one step back? Who was the imbecile who authorized this for production?
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I said it once, I'll say it before. Decisions to go with 24P/25P over 60i/50i and using a 17Mbps bitrate are strictly to protect Panasonic's video division. If Panny is truly listening it would be nice to see these things 'fixed' for US release.
 
mico said:
I think the Canon HV40 is the only camera that shoots 24 for 24.
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In HDV, the JVC cams and the 24F mode in all Canons that have it, are basically 24-for-24. In AVCHD the HMC150 (and soon-to-be-released HMC40) do; in XDCAM-EX the EX1/EX3 do, and in AVC-Intra all the AVC-Intra cameras (from HPX300 on up) do. Plus the pN mode on any DVCPRO-HD camcorder is 24-for-24.
 
Has anyone found an email address where we can contact Panasonic?

Yes, we're not anywhere near the majority of the intended audience of the GH1, but I think there's enough of us that they will listen. First order of business is getting an option to output the 1080 as 24fps rather than 60i.

I have no doubt that footage shot without any pulldown added is going to look noticeably better with the 17mbps AVCHD. And even for 'normal' consumers that want to edit home movies and share them on youtube, it'll be an improvement.
 
I've already pitched the idea of a pro-level GH1 to the appropriate Broadcast folks. The GH1 is a consumer product, from the Consumer division. Pretty much a totally unrelated, separate company. Occasionally Broadcast will pluck a product from Consumer and bring it up to their standards (like the HSC1U was). So I told 'em that if they'd take the GH1, add 24mbps 1080/24pN PH mode and some XLRs, they'd sell every one they could make.

As almost always when dealing with a Japanese company, the idea was greeted warmly and with no commitment. So -- we'll see.
 
Barry_Green said:
So I told 'em that if they'd take the GH1, add 24mbps 1080/24pN PH mode and some XLRs, they'd sell every one they could make.
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You have no idea how many pro photographers I know that want to get into the video side of the business but only feel comfotable with a DSLR size camera and lenses they know.

Even where the cam is now I'd bet the video is to good at 720/60 for 90% + of the people who buy it.

I have been playing around with some raw clips I got my hands on with color correction and effects in Avid and impressed by the way the 17mbs avchd is holding up (in 720/60p).

Can't wait to see you put it in front of the res charts! If I order a Jap version this week I can have it drop shipped to you for a week to play with before you get the official U.S. model.
 
Barry_Green said:
I'd love to get my hands on one, even if it's in Japanese...
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I'll know in a day or two. I'll send you a PM.

A relative of mine is one of the top still photographers in the world, if you know my last name (pretty sure you do) you can find him on google, he teaches siminars all over the world and is more excited about this than us video guys are. Actually most the still photo guys are more excited about this than us video guys are and we are excited!

Funny thing is I'd bet these still photo guys kick our asses with this camera because they understand how important content is and understand the lenses better than most (unless you work for Panavision). Times are changing! Mini xlr's or even TA5 connectors for the audio input would be sweet! Gotta keep it small.
 
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