Was starting to fret about all the money we invested in DVCAM, here is the response from the Sony Broadcast dealer (who also sells Panasonic).
Panasonic has the AG-DX100 mini-DV Prosumer camcorder that can be set to 24P (actually records 60i on tape but uses processing to give the effect of 24P on playback and also supplies metadata for NLE ingest at 24fps. For the record the Sony HDCAM camcorder actually records 24 fps on tape). They also introduced a higher end camera (US$25K) that is DV25 / DV50 switchable, 16x9 /4x3 switchable, 60i / 30P / 24P switchable.
The low end one is no match for the 500WS imaging-wise. The only thing it has is the 24P mode which is strictly for esthetic/artistic quality (unless you are finishing on film where you want a ±0 frame accurate negative cut list. It adds 3:2 pulldown on playback so it has film transfer motion artifacts). This can be easily emulated with "Cinelook" type software nowadays. Another possible use for 24P is if you are planning to "Universally Master" your program for international release in PAL and NTSC.
If an end-user/client thinks they have to have 24P it's most likely because the cameraman/salesman has made them think it's a must have as most have no idea what it's about. The Film finish or Universal Master are valid advantages of 24P, but the motion artifact thing is (film-wannabe" stuff. It's suitable for drama, maybe docs, but not for news, sports etc. (I don't really think it's suitable for training, but you are a better judge than I in that area). It's definitely nice to have as option on your "palette" and right now Panasonic is all alone in the C$6K price range so they'll probably sell tons of them.
So, I guess I will investigate "Cinelook" plug ins. Anyone have a recommendation?
Peter
Panasonic has the AG-DX100 mini-DV Prosumer camcorder that can be set to 24P (actually records 60i on tape but uses processing to give the effect of 24P on playback and also supplies metadata for NLE ingest at 24fps. For the record the Sony HDCAM camcorder actually records 24 fps on tape). They also introduced a higher end camera (US$25K) that is DV25 / DV50 switchable, 16x9 /4x3 switchable, 60i / 30P / 24P switchable.
The low end one is no match for the 500WS imaging-wise. The only thing it has is the 24P mode which is strictly for esthetic/artistic quality (unless you are finishing on film where you want a ±0 frame accurate negative cut list. It adds 3:2 pulldown on playback so it has film transfer motion artifacts). This can be easily emulated with "Cinelook" type software nowadays. Another possible use for 24P is if you are planning to "Universally Master" your program for international release in PAL and NTSC.
If an end-user/client thinks they have to have 24P it's most likely because the cameraman/salesman has made them think it's a must have as most have no idea what it's about. The Film finish or Universal Master are valid advantages of 24P, but the motion artifact thing is (film-wannabe" stuff. It's suitable for drama, maybe docs, but not for news, sports etc. (I don't really think it's suitable for training, but you are a better judge than I in that area). It's definitely nice to have as option on your "palette" and right now Panasonic is all alone in the C$6K price range so they'll probably sell tons of them.
So, I guess I will investigate "Cinelook" plug ins. Anyone have a recommendation?
Peter