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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Anyone Considered the AJ-HPM100?

S

Scott Webster

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Panasonic AJ-HPM100 P2 Mobile

Am I crazy in thinking that this unit is a fantastic field capture station for the Red? Utilising AVC-Intra 100 you can capture 1920x1080 10 bit 4:2:2 straight to P2 cards. Battery powered, with screen and can offload to HDD via firewire.

Lot cheaper than a SRW-1 or even the Panasonic 1400.

What are the negatives?
 
You still need a few P2 cards to cycle in the field/on set while you offload to another system and/or drive...then verify that the media is cool (non-corrupted or 'cyclic redundency error' which I have had happen), then and only then you can nuke the footage and re-use the cards. The Intra codec is not yet supported because it's not out yet (and Panny says they're manufacturing these boards this month) but it will likely show up on FCP first, then Avid...

Also not sure if you can jam timecode; presumably if you are making a clone you'd need to have identical timecode.

It does have its uses for other camera packages (even the PDW-F350) via HD-SDI out and the F900R. Way to go Panasonic for making Sony cameras better with this solution! See, their XD VTR's only record to the silly 35 Megabit/sec data rate, and 1440x1080...using HD-SDI your actually recording a better file out of their cameras. Presumably this would also work with Panny's 500.

But as a backup for Red?
 
Torrie said:
It does have its uses for other camera packages (even the PDW-F350) via HD-SDI out and the F900R. Way to go Panasonic for making Sony cameras better with this solution! See, their XD VTR's only record to the silly 35 Megabit/sec data rate, and 1440x1080...using HD-SDI your actually recording a better file out of their cameras. Presumably this would also work with Panny's 500.
Click to expand...

We had a visit from Panasonic yesterday with the HPX3000 and that was my point with HPM100. Pick up one of those for NZ$20k and I've just got myself a F900R with 1920x1080 10 bit 4:2:2 record capability. Hell of a lot cheaper than a SRW1. Great solution for the Iconix HD mini cam too.
 
According to that Web page, this thing doesn't support 1080P at all, or ANY 24P, 25P, or 30P.
 
Panasonic Laptop Editor

Panasonic Laptop Editor

Brochure says - plays back following (so apparently no native 23.98 / 24 / 25 record or playback)

1080/59.94i, 1080/23.98p (over 59.94i),

1080/23.98pA (over 59.94i), 1080/29.97p (over 59.94i),

1080/50i, 1080/25p (over 50i),
 
Stuart English said:
Brochure says - plays back following (so apparently no native 23.98 / 24 / 25 record or playback)

1080/59.94i, 1080/23.98p (over 59.94i),

1080/23.98pA (over 59.94i), 1080/29.97p (over 59.94i),

1080/50i, 1080/25p (over 50i),
Click to expand...

Yes my mistake with Red, 1080p over the HD-SDI unlike Sony and Panasonic who do their progressive over 50i/59.94i. Thanks Stuart.

Still a relatively cheap and portable way to take advantage of the uncompressed HD-SDI from other cameras.
 
Curious if anyone has thought anymore about recording from the RED SDI Output to the Panasonic HPM100 P2 Recorder? No posts for a couple of years to this thread... Has any one tried it?
 
You have to look into HPM110 instead of HPM100 that supports native 24p.

I've used them and recommend to TV commercial shooting since it could be used to monitor the live feed from RED and record at the same time for the directors, so he can evaluate the takes freely without changing RED ONE to playback mode.

Also, HPMs would work as a down converter, so you can provide SD monitoring to say clients separately.

You could also switch RED ONE to playback mode and record at full 1080p at AVC-Intra (DVCPRO HD will be 1280 x 1080) for backup (we used to use this method for the audio tracks when previous firmware of RED ONE had audio issues) if you can really believe the R3D media but that is non-sense.

In order to copy good looking footage from RED ONE through the video out, you have to create a look with REDAlert! at the site and send back the RSX (?) to the camera and apply it or something.

HPM100 and 110 are great for monitoring purpose for sure, but you would waste many good things about RED workflow.
 
Thanks for the info... I have tried to Hook up a HPM100 and can't get it to sync. The picture jumps and tears at 720 and at 1080 I see a double image that ghosts.

I have a production house that wants to shoot on the RED but does not want to use the work flow, so they are interested in P2. I have the 100, but am looking at buying the HPM110, but I want to make sure its going to work to spend the money. Can I capture from the RED while it is shooting or will I need to do the capture in playback or does it matter.
 
I used it on the 2nd unit of Knowing.
We used it in the helicopter shots. We ran it during the ariel takes and had the heli hover and drop the P2 cards for "above the line review."
720 59.94 recorded fine.
Great for playback. I think VTR guys should really consider it.

As far as skipping the RED post to use these files....

if thats what you want.
 
Do you recall if you were using the The HPM-100 or the 110?
 
Eric,

Dropping the P2 card for above the line review, that's so aggressive!

Scott, if you're recording the live feed from RED, it will be 59.94fps, so 720/59.94 like Eric mentioned should work but other frame rates in 720p are proprietary by Panasonic, so it won't work for say, you're shooting 23.976 for your project. The live output stays at 720/59.94.

Also, the live output from RED is not the clean signal. It has the clip name, timecode and the frame around it, so if you were to use that for the online footage, then you would even have to crop it so the resolution even gets lower than 720, so your RED turns into less resolution than P2 camera but with PL lens mounted (that's good at least).

If you want full 1080 resolution then you have to turn the RED ONE to the playback mode, then the signal is clean full 1080 resolution. Also you would have to record it at 1080/60i. Was it for TV commercial shooting? If it is so, then shooting at 29.98 should work with 1080/60i signal.
 
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