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Because 720/60p delivers the "reality" look for sporting events or whatever. You can't get that look on a 30p-only camera like the JVC. Check out the high-def broadcasts of the Super Bowl, or the NBA Finals, those are all shot 720/60p.

The JVC can only record 30P at most (in high-def), so you can't get that glass-smooth "reality" look from it.

It's just another option offered.
 
These arguments get as old and stale as the digital camera people with all their pixel counting bashings over nikon vs canon ( I personally prefer Nikon for my DSLR needs, and Canon for my point and shoot.)

Pixel counting, pixel counting, pixel counting, I'll keep saying that annoying term.

Because its all people are ever getting hung up on these days.

Trust your eyes first...specs 2nd.
 
Both 1080i60 and 720p60 claim the reality look. But if you ever watch a football game from a 1080i network like CBS compared to a 720p network like ABC you will see that there is no comparision in picture quality. The 720p footage from ABC Monday night football is so much cleaner and free of compression artifacts than the 1080i footage from CBS. As a matter of fact 720p60 could be considered HD high end. For example it used to be if you just wanted 1080i60 Panasonic would sell you the HDX400 for around $30,000 but if you wanted to go 720p60 you had to buy the Varicam and shell out over $60,000. Now Panasonic is offering 720p60 in its entry level HD camcorders and when you think about it they really did not have to do that. Since the HVX200 is a multiformat camera Panasonic could have easily gotten away with just offering 1080i60 and 720p24 so they could have protected their high end.
 
androbot2084 said:
Since the HVX200 is a multiformat camera Panasonic could have easily gotten away with just offering 1080i60 and 720p24 so they could have protected their high end.
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There high end is more then protected...the choice of optics alone, aside from larger CCDs assures that.
 
If you are shooting in 24p mode, and you run the camera at 60p to get slow-mo (or any of the variable frame rates), then there is no audio. If you shoot a project in 60p mode, you can get all the audio you want.
 
bluetuned said:
If you are shooting in 24p mode, and you run the camera at 60p to get slow-mo (or any of the variable frame rates), then there is no audio. If you shoot a project in 60p mode, you can get all the audio you want.
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That is not true. It still records audio.
 
bluetuned said:
If you are shooting in 24p mode, and you run the camera at 60p to get slow-mo (or any of the variable frame rates), then there is no audio. If you shoot a project in 60p mode, you can get all the audio you want.
Click to expand...

so what's the deal there, you shoot 24p mode at 60p and you're recording 60p but only utilizing 24 frames out of the total 60 frames you record?
 
brianluce said:
so what's the deal there, you shoot 24p mode at 60p and you're recording 60p but only utilizing 24 frames out of the total 60 frames you record?
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Ever shot film before?

It is an effect called "overcranking" or highspeed or slow motion. (when going over 24fps) and undercranking or sped up when going under 24fps.

Its means if you are shooting at a straight 23.98 timeline...and you change the camera to shoot at 59.94fps....when that footage is played back (on a 23.98fos timeline) it will slow down the footage.
 
brianluce said:
so what's the deal there, you shoot 24p mode at 60p and you're recording 60p but only utilizing 24 frames out of the total 60 frames you record?
Click to expand...

Or I'm getting ahewad of myself and not understand your questions.

if you are shooting 720p/24p you are always shooting on a 59.94fps timeline...but the camera "flags" frames...and when the footage is imported it drops the extra unused frames.
 
The Sarlacc said:
That is not true. It still records audio.
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Really, then I have been misinformed. I was under the impression that audio is not recorded when you're using the variable frame rates. Well, goes to show that I should probably keep quiet until my camera is actually in my hands (which would be 2 days and counting....hehe).
 
The Sarlacc said:
if you are shooting 720p/24p you are always shooting on a 59.94fps timeline..s.
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by timeline you mean the camera is recording, in actuality, 59.94?

I'm confused cuz i always associate timelines with NLE softwares, but you're refering to a timeline in the camera itself?
 
bluetuned said:
Really, then I have been misinformed. I was under the impression that audio is not recorded when you're using the variable frame rates. Well, goes to show that I should probably keep quiet until my camera is actually in my hands (which would be 2 days and counting....hehe).
Click to expand...

you're right. if the camera is in 720p 24PN or 30PN recording mode, and you change the frame rate to something other than the default rate (i.e. if you undercrank or overcrank), no sound is recorded.
 
brianluce said:
by timeline you mean the camera is recording, in actuality, 59.94?

I'm confused cuz i always associate timelines with NLE softwares, but you're refering to a timeline in the camera itself?
Click to expand...

Yes...720p/24p = 24fps always shooting at 60fps

720p/24pn = 24fps at 24fps.

I mention timelines because when you import the footage (on FCP) at least you need to use the proper corresponding timeline (59.94 or 23.98)
 
d-mac said:
you're right. if the camera is in 720p 24PN or 30PN recording mode, and you change the frame rate to something other than the default rate (i.e. if you undercrank or overcrank), no sound is recorded.
Click to expand...

Are you sure?

I will have to go back and find that footage I shot. I could have sworn I remember hearing audio...

apologies in advance if I am incorrect on that.
 
When shooting 24pN at variable frame rates, no audio is recorded.

When shooting in "over 60" modes, audio is always recorded.
 
Barry_Green said:
The JVC can only record 30P at most (in high-def), so you can't get that glass-smooth "reality" look from it.
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I'm not a JVC owner but, according some available info that I've been researching, it also does 720/60p via the uncompressed component-out.
 
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Haakon said:
There's a vast difference between using MPEG-2 compression for acquisition and using it as a delivery codec.
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A vast difference, no.
If so, please explain.

Recompressing a captured MPEG-2 format to MPEG-2 again, of course will have some loss.
 
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