Sorry maybe that should have read 'personkind' just to be PC.
Last week I got two tapes, one from the UK and one from the USA. Both shot in HDV @ 50i. 50i footage from USA has no flicker, don't know any details about how they shot it, came as a surprise they'd shot HDV but there you go. UK footage could have used a bit more light but still usable.
So what's so remarkable about all this. Well no one in the US had to chase all over the place to find a PAL camera and now I can deliver pretty fine looking NTSC footage to anyone including my in laws.
But there's more to this. We pretty regularly hire to overseas crews but if they come from a NTSC country they have to bring their own cameras and that's a big issue these days. That's now a thing of the past, anyone can now travel anywhere in the world and pickup a Z1 when you get there and shoot in which ever format you need to, same goes for getting someone over there to shoot footage for you. Anyone need a reel of Syndey Harbour?, you need it in 60i for NTSC delivery?, no problem (well OK it's pouring rain at the moment and I doubt Sony will ever have an answer to that problem), you can have it in 24 hours plus courier time or it can even be ftp to anywhere on the planet.
I know I've mentioned this before, well we've done it, it works and its very simple. We delivered 16:9 DV25 PAL to the client, HDV deck 1394 to DSR-11 to dub, even got the 16:9 flag correctly. Piece of cake. Prior to the Z1 hitting the streets the footage would have suffered somewhat even going through a S&W standards converter, to say nothing of the cost.
Now what's going to be an interesting experiment is going from 50i HDV to NTSC DV. I'm thinking this has got to work better than going from PAL DV to NTSC DV.
To me this is a much bigger thing than the HDV aspect.
Last week I got two tapes, one from the UK and one from the USA. Both shot in HDV @ 50i. 50i footage from USA has no flicker, don't know any details about how they shot it, came as a surprise they'd shot HDV but there you go. UK footage could have used a bit more light but still usable.
So what's so remarkable about all this. Well no one in the US had to chase all over the place to find a PAL camera and now I can deliver pretty fine looking NTSC footage to anyone including my in laws.
But there's more to this. We pretty regularly hire to overseas crews but if they come from a NTSC country they have to bring their own cameras and that's a big issue these days. That's now a thing of the past, anyone can now travel anywhere in the world and pickup a Z1 when you get there and shoot in which ever format you need to, same goes for getting someone over there to shoot footage for you. Anyone need a reel of Syndey Harbour?, you need it in 60i for NTSC delivery?, no problem (well OK it's pouring rain at the moment and I doubt Sony will ever have an answer to that problem), you can have it in 24 hours plus courier time or it can even be ftp to anywhere on the planet.
I know I've mentioned this before, well we've done it, it works and its very simple. We delivered 16:9 DV25 PAL to the client, HDV deck 1394 to DSR-11 to dub, even got the 16:9 flag correctly. Piece of cake. Prior to the Z1 hitting the streets the footage would have suffered somewhat even going through a S&W standards converter, to say nothing of the cost.
Now what's going to be an interesting experiment is going from 50i HDV to NTSC DV. I'm thinking this has got to work better than going from PAL DV to NTSC DV.
To me this is a much bigger thing than the HDV aspect.