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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 :)

New Panasonic 3D HD camera...

Pedro Guimaraes

Pedro Guimaraes

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Well looks like they finally finished it.

http://blog.digitalcontentproducer....-integrated-full-hd-3d-camcorder-at-ces-2010/

Fixed IO, dual recording....pretty cool.

But looks like they copied Jason Goodman's "optical axial offset" he has on his 3DVX camera. I guess he should of patented it....

Should be a good camera for lower budget productions, corporate presentations and the hours and hours of 3D TV programming that will have to be shot.....

ces2010-image-fullhd3dcamcorder.jpg


ces2010-image-fullhd3dcamcorderleft3-4.jpg
 
It seems the suggested retail price of $21000 is just about ok. Only for studio work, close ups, mid shots.... We'll see if it takes off.... it seems great as it is easier and quicker to operate, corporate work will definitely benefit, but you will still need a side by side rig and potentially a mirror rig, depending on what you have to shoot....
 
what are the fixed lenses on the camera ?
 
The 3d TV world only want 1080 video - what use is 2k or RAW on a camera destined for made for 3DTV world? RAW is pretty much the last thing most TV production wants, they want quick turn-around footage properly exposed in-camera.

I'm not sure this Panny will be as popular as the single-lens Sony for live production (who want as simple to rig a solution as possible) and it's a bit cheap for the high-end 3d corporate. I expect this will open a whole new market for lower cost 3d content - a good and a bad thing. Expect badly made 3d to be a serious headache...
 
Wow CES turned out to be a big surprise this year :D

From being a sceptic, I actually think 3D will be the next big thing! It's been tried so many times before, but this time it seems all players are in :)

And the Scarlet too! woooow :)
 
RAW for TV use

RAW for TV use

RAW is pretty much the last thing most TV production wants, they want quick turn-around footage properly exposed in-camera.
Click to expand...

There is nothing about RAW that prevents quick turn around editing and proper exposure.


If you want to argue TV producers want to use what they have always used, fair enough.

But please don't paint RAW into a "difficult to use" corner. See Vegas Pro 9 as an example.

http://library.creativecow.net/articles/harvey_jim/sony_vegas_pro9.php
 
Stuart English said:
There is nothing about RAW that prevents quick turn around editing and proper exposure.


If you want to argue TV producers want to use what they have always used, fair enough.

But please don't paint RAW into a "difficult to use" corner. See Vegas Pro 9 as an example.

http://library.creativecow.net/articles/harvey_jim/sony_vegas_pro9.php
Click to expand...

Here's the point Stuart - as good as RAW is (and I've been working with it for 2 years now) there is an entire market that does not want to one light, or grade anything - they want the video solution they have always used. Not just because it's what they've always used, but because it's quicker.

I'm in the middle of editing over 10 hours of HD CAM content for broadcast distribution - that's final edit, there's hundreds of hours of footage. So far, only a handful of shots have even needed colour correction, they were so well shot. Working in FCP, I could not have achieved this - in the same timeframe - with RED footage. It would have needed looks applied, and individual shots graded.

I'm entirely comfortable with the RED workflow - but sometimes 'baked in' is just better.
 
By the way - I appreciate the advances the color science has made towards a 'hands off' ingest of RED material, but you can hardly blame the market if they treat RED material on basis with which it was released and used for a considerable period of time. Also, where you unwittingly create a 'fix it in post' attitude with some camera operators who either should know better, or just don't know the right way to work. Like it or not, a RAW workflow DOES create this attitude sometimes. I also appreciate how much RED are doing to educate people not to work this way, and simplify things for the operator.

I look forward to a future filled with well-exposed Scarlet footage!
 
Pedro Guimaraes said:
Well looks like they finally finished it.

http://blog.digitalcontentproducer....-integrated-full-hd-3d-camcorder-at-ces-2010/

Fixed IO, dual recording....pretty cool.

But looks like they copied Jason Goodman's "optical axial offset" he has on his 3DVX camera. I guess he should of patented it....

Should be a good camera for lower budget productions, corporate presentations and the hours and hours of 3D TV programming that will have to be shot.....
Click to expand...

http://www.dvinfo.net/forum/attachm...d-full-hd-3d-camcorder-ces-2010-conv3dsys.jpg
This image suggests that this camera is not a simple side by side camera... Does anyone know for sure?
 
This panasonic camera I am sure will be a great Camera for Porn... but there will be depth of field issues, the costs of repairing the camera if it's broken, etc... etc.. etc.. A Red One with a couble batteries and two CF cards is about the same price.
 
it uses 6 cmos sensors, when asked yesterday they did not give us the size of the sensor.

they did not talk about the lenses that much.

It is small and light.
 
Richard N. Metzker said:
...there will be depth of field issues...
Click to expand...

If you're referring to a large DoF, that's actually something you want for stereoscopic. Stereo works best on images that are reasonably sharp and allow the audience to explore the depth of the scene. If the depth of field is shallow the stereo effect is less effective and also limits the 'freedom' of looking around in the scene.
 
Barend Onneweer said:
If you're referring to a large DoF, that's actually something you want for stereoscopic. ...
Click to expand...

That's why I thought from the first time I heard about the Scarlet that it would be the perfect cam for 3D. The Lens should be fast enough to record in low-light situations, and can be stopped down when there is more light available. the 2/3" Sensor will give a hint of DOF wven when stepped down, to focus the view of the viewers a tittle bit (like really near stuff in front of the cam and the slightlx blurry background when recording in studio) but not to much. And if you want to you can archive a nice shallow dof with them if doing 2D or "talking heads"
 
GPSchnyder said:
Where does it suggest that? It just shows the difference between a mirror rig and the Panasonic...
Click to expand...

Is that what it looks like to you? It has a huge arrow that suggests to me that the mirror rig is "integrated" into the panasonic. I assumed the mirror rig was only necessary because the lenses were so huge, and was hoping that it wasn't a necessary setup with such small lenses.
Panasonic also claims that you can adjust the convergence point, I wonder if that is a physical adjustment since the lenses seem to be cased by this accordion style frame. If so it's at least a step above the locked down side by side camera rig.
http://www.dvinfo.net/forum/attachm...d-full-hd-3d-camcorder-ces-2010-convpoint.jpg

I think those images are all misleading if they are meant to suggest what the camera is NOT, rather than what the camera is.
 
I don't get it- $21K for a fixed interocular? I could make my own DSLR rig for 1/4 that with a variable interocular. They're going to have to do a little better than that...

Noah
 
Noah Kadner said:
I don't get it- $21K for a fixed interocular? I could make my own DSLR rig for 1/4 that with a variable interocular. They're going to have to do a little better than that...
Click to expand...

For regular stereo a ca. 65mm interocular is advised. You only deviate from that for effect - so it makes sense for a 'run and gun' stereo setup to have a fixed interocular.

How do you get an interocular of 65 mm with DSLR cameras (without mirror rig - because the rolling shutter on a mirror rig will kill the stereo)? And how do you jam-sync the shutters?

Also, from what I can tell is that the Scarlet body is too big to get a 65mm interocular without mirror rig.

The Panasonic wouldn't be for me, and it's not a cinema solution. But it's the first real move into for instance ENG style stereo.

Barend
 
Aric Mannion said:
Panasonic also claims that you can adjust the convergence point, I wonder if that is a physical adjustment since the lenses seem to be cased by this accordion style frame.
Click to expand...

Nothing moves, your just shifting the image over the sensor. It's an image shift. Exacly what the 21st century 3D camera (3DVX) does. It's actually far supirior way of "converging" because you don't actually have any keystone issues because the lenses stay parallel.

It will be a good camera, very useful for what it's intended for. No more no less. No point in comparing this to any RED setup. Apples & oranges.

One is ENG/TV style and the other is cinema style.
 
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