Sony XDCAM EX

KMR said:
Yeah, it's really neat how they're able to defy the laws of physics on all the other parts of the camera! When are they going to get around to it with lenses? (sorry, couldn't resist...)
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Well, some of those aren't laws, just perceptions (like the infamous 'Moore's law' limit in computer chips - there are at least dozens of ways around it, whenever we get around to being able to manufacture them).

However, the wavelengths of visible light are pretty much fixed. The scale of the world is pretty much fixed. A few other variables like this sort of lock in half the equation and leave the lens designers without much room to play.

This, in turn, adds to the whole DOF problem.

Meanwhile, back in the day, I am sure cinematographers everywhere were cursing the lack of DOF on their cameras and hating film grain.

Now we pay extra for these 'features' to be added back to us.

It seems strange that we are deliberately crippling solid technology to make it look like it is as limited as the older stuff.
 
Camera Expert said:
I fully agree.


This camcorder will be a force even if it’s priced at around 10 to 12 thousand dollars and what’s to say Sony won’t release an HDV version with the same size chips.
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Another thing I think will make this camera sell well: It actually has the "CineAlta" badge emblazoned on it. Lots of people would love to see that on the side of their camera, just as much as DVCPRO HD.
 
Nik Manning said:
Isn't that what the AJA io-hd ProRes 422 does? I think that is breathing some serous new life into these cameras. If you can capture to ProRes from a Canon HV20 that would be so damn cool. It is a tad pricey at $3500 but it has every input known to man on the back of it.
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Yeah, but the I/O HD requires AC so it's not a perfect field solution like a Firestore. An I/O HD combined with a MacBook Pro makes a nice alternative to dedicated capture devices like the Wafian. It also cross-converts on-the-fly so you can capture 1080i shot for slowmo as 720 60p, in addlition to converting 720 to 1080i on the fly.
 
bikefilms said:
I've been privy to some great video footage shot behind-the-scenes with a Sony Rep.

The sensor is a completely new type, named CANTTELL.

The new CANTTELL sensor is a 1/2 inch, and yes, there will be three of them in the new EX.

I'm editing the video, posting to YouTube soon.

-andrew
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Andrew,

Are the new CANTTTELL sensors CMOS of CCD? How did the latitude look? Most HD camcorders have a dark contrasty look, not much dynamic range. Did it show ANY of the V1 problems - rolling shutter, "oil paint effect", "marching ant noise", blockiness, reduced resolution in low light - hi gain settings?

Sorry for all the questions. Please answer what you can. Looking forward to your video. Thank you for your help.
 
Simon Wyndham,

You knew what Sony had in store for us. I read your hints over at dvinfo. Do you have any information about a "Z2" coming in July, as has been talked about here:

http://www.slashcam.de/info/Sony-HVR-Z2E-136474.html

Translation: Sony answers to Panasoncic's AG-HVX 200 challenge with its HVR-Z2E, expected to be on the market in July. It should have a 20x changeable zoom lens 5.4 - 108 mm, size 16x20x38, wight 2600 grams. Filter size is 72 mm (as with the Z1). Clip resolution is 3x1700 000 pixels. Manual shutter speed 1/3 - 1/16'000 sec. Vertical resolution 611 LP, horizontal resolution 700 LP (up to now it was 486 LP), which will be optimal for the 16:9 format. The price will be around 7'500 Euros. More information on www.sonybiz.net.

Thanks.

Hey, does anybody have anything to add about a Z2? Did anybody ask about it at NAB?
 
v3rlon said:
Well, some of those aren't laws, just perceptions (like the infamous 'Moore's law' limit in computer chips - there are at least dozens of ways around it, whenever we get around to being able to manufacture them).
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No, I was talking about real laws, not things like Moore's law. Which was my whole point, put in the form of a joke. (Which apparently didn't get across, unfortunately. I'll work on my delivery.)
 
TimurCivan said:
dont forget a yu may need an even more powerfull computer to decode XDcam on the fly while editing. it is still Mpeg based isnt it?
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It's as easy to edit as HDV if you have a relatively current, powerful computer. I've transcoded HD SDI stuff to XDCAM 35 mbs VBR (it's a readily available QT codec for editing and transcoding) and it edits about the same as HDV...which is to say that it works, but it's not ideal for complicated, fx-heavy edits.
 
So I talked to someone who knows more about this camera and hes saying sony is gonna charge about 8 Grand for this camera....but damn
 
So is it definite that the color space will be 4:2:0 ?

For me this would be the big deal breaker, because the color of the HVX's 4:2:2 is way too brilliant to abandon.

- Chris Gravat
Orlando, FL
 
Yes it'll be 4:2:0. All XDCAM HD is currently 4:2:0. It's using the same long-GOP MPEG-2 recording as their existing products, at the same bit rates (18, 25, and 35 megabits).
 
Any thoughts on how the codec holds up as far as color information is concerned.

Panasonic just needs to make an express card version of the HVX with a proper lens then it'd have the market cornered, seems so at least.
 
Here is what I want the successor of the HVX200 to be:
  • Obviously get rid of the tape drive.
  • Increase the size of the imagers to match the XDCAM EX and make sure the pixel count is at a minimum of 1280x720.
  • They will use the 50mbps AVC-Intra codec but if they really wanted to kill the XDCAM-EX, they would also use the 100mbps AVC-Intra codec that its bigger brothers are using.
  • If there is enough room, add at least 1 or 2 more P2 card slots.
As for Sony, they better make sure the XDCAM EX uses their new 50mbps MPEG 2 codec.
 
cgravat said:
isn't that new 50mbps mpeg2 codec 4:2:2?? seems like i remembered reading that somewhere.
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It is


Sony is going to use the 50mbps MPEG2 codec in their upcoming XDCAM camera with 2/3” CCDs. They claim the XDCAM EX wont use that codec but I think it should to fend off against the successor of the HVX200.
 
cgravat said:
So is it definite that the color space will be 4:2:0 ?

For me this would be the big deal breaker, because the color of the HVX's 4:2:2 is way too brilliant to abandon.

(and) Any thoughts on how the codec holds up as far as color information is concerned.
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Chris - don't get too hung up on the numbers. The colour of the HVX may well be very pleasing, but I think it may well be due to factors other than colour space, and here we are making a comparison with a camera not yet shipping. I can't but see that certain aspects of that will be very positive (true manual lens, for starters) but let's compare actual pictures when the EX is available.

And "4:2:2", "4:2:0" never tell you the whole story in isolation. For 720, DVCProHD luminance resolution is 960x720, with the chrominance channels 480x720. That compares with a 4:2:0 system with lum res 1280x720, chrom res 640x360. In other words, the 4:2:0 system actually has better horizontal luminance AND chrominance resolution, at the expense of vertical chrom res!

Without defining what "4" refers to, colour space ratios can be very misleading. 4:2:0 certainly shouldn't be seen as a deal breaker.
 
From the photos ( http://www.tapelessrev.com/xdcamnab2007.html and scroll to the CU of the lens barrel) the lens clearly has four switches - manual/auto for iris AND FOCUS, manual/servo for the zoom, and on/off for the macro. And in manual the controls behave like a "proper" lens with true end stops.

I can't really think how that could be improved on.
 
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