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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 :)

Uh oh, guys

"Just for your reference, US TV series' like "Stargate Atlantis," The 4400," and many others use the HVX200 for some of their shots."

Is this true and if so, why?
 
only "some" of their shots.. mainly when they are looking for a specific look like scenes where they need everything in focus and make it look more "reality" like. I can pinpoint some of those scenes in Atlantis...but most of the time Atlantis is shot on 2/3 pana cameras...
 
Look, I know I've been touting the canceled Canon 3D lens for the XL1 as a good idea for years now but I didn't expect anyone to actually listen. The reason I posted this though is because now Panasonic is basically trying to set us up to look for 3D cameras instead of normal single lens cameras. If this really works and ends up being a big thing, how will RED respond?
 
I hope Red responds asap , and rethink a 3d full blown scarlet with full operational control and recording into stereostream, putting annoying issues away from recording to different systems and introducing dangers into the chain showing up in post.
 
Response to RED rather then vice versa

Response to RED rather then vice versa

I believe this is a response to RED rather then RED needing to respond back, the issue I'm thinking this camera will have is that will it be able to shoot just single lens?

I understand 3D is becoming a big thing but sometimes not EVERYTHING should be in 3D...the beauty of the RED project is that, its a professional camera, whilst this appears to be very prosumer, that happens to be able to, when using the appropriate rig, shoot two cameras in a 3D set up. Now this for a production company may mean that when not shooting 3D they can have two productions running at once or obviously two cameras on one short/feature.

Having that one camera...I don't know,I love the look,its sexy,but I enjoy being able to shoot both flat and 3D.I'd definitely get one though if the price is right.
 
PANASONIC_3D_CAMERA_1.jpg
walle_b.jpg
 
If I get one, im calling it Wall-E :) Good one Brandon

This should be an exciting NAB. RED's competitors have had enough time to unveil their first wave of retaliatory products.

I was about to comment on the AVC Ultra badge on the camera as well. 200mbs 2K codec? Im sure it'll have all sorts of issues when nitpicked, it doesn't have the flexibilty of RAW etc. etc. but still, it's an exciting time to be alive guys...
 
Eren Ozkural said:
Taking the confusion and cost out of jerry rigging cameras and calibrating lens' convergence etc. would be a Godsend. I hope RED responds to this with some heavy firepower.
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And what makes you think this Panasonic solution (if it's even a real or working concept) actually does these things. Doesn't look like it compensates ocular convergence changes with focal length and/or focal plane shifts. Looks to me that if real, it works off of a mirror splitter or prism system to record alternating frames to the same sensor.

To me, two Scarlet or Epic brains on a dedicated 3D rig make much more sense. And no jerry-rigging should be involved if one can be set as the primary control camera and the other as the "slave", should be linkable with a single cable.

We'll have to see what RED finally delivers, but we know they're thinking of 3D, we've all seen the teaser renders. And those concepts were a few weeks to a couple months behind where they were at when shown.
 
From what the photo shows, it looks like a Prosumer Panasonic camera.

The thought of a fully thought out 3D camera and workflow on a 200mbps codec when only recently that market was making do with 1080i HDV.

Since Panasonic and their peers are large companies that don't have the bleeding edge "turn on a dime" mentality RED does, I'm assuming that a complete and somewhat affordable post work flow would be mature when the product is on the market that can easily help navigate through the issues that working in 3D does.

Yes there is the PACE 3D rig. Yes there are post suites that handle stereoscopic finishes. These involve no jerry rigging and post production confusion. Problem is that not everyone that shoots on a RED One, or by extension Scarlet can afford those solutions.

I love the idea of shooting 3D in a SINGLE prosumer priced/sized camera with a rich codec.

I'm sure that the RED crew are cooking up something special. Since Panasonic fired this shot across the bow, I'm just anticipating Jim & co to fire a salvo back at them...like I said, good time to be alive.
 
hmmm. plasma display solution? Will they be able to reduce power consumption enough to meet future appliance regulations?
 
looks more like an anamorphic lens to me. maybe they've tuned a cmos to spit out a higher horizontal resolution, thus getting somewhat full hd per eye.
still not sold on the simplicity. no way you can control oc-space or convergence with that.
3d is not easy, and it shouldn't be.
 
Matt Gottshalk said:
The bigger announcement from Panasonic is AVC-Ultra.

4:4:4 2k 200Mb/s.
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EXACTLY!!!

Jeff Kilgroe said:
To me, two Scarlet or Epic brains on a dedicated 3D rig make much more sense. And no jerry-rigging should be involved if one can be set as the primary control camera and the other as the "slave", should be linkable with a single cable.
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I think so too. Red is all over 3D, I doubt a ProSumer Panasonic will shake a stick at DSMC 3D capabilities. Though it will still be a sweet rig if it comes in at HVX pricing. I'd take the 3D lens thing off though :D

Is it one chip? How cool would it be if it were one 8:3 chip recording two 4:3 anamorphic images in each frame? Or making two streams if preferred.
 
Roberto Lequeux said:
EXACTLY!!!



I think so too. Red is all over 3D, I doubt a ProSumer Panasonic will shake a stick at DSMC 3D capabilities. Though it will still be a sweet rig if it comes in at HVX pricing.
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My thoughts exactly.
 
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