storage

At the Egyptian Theatre on Friday September 30 2005, Jan Crittenden Livingston, Product Line Business Manager for the Panasonic AG-HVX200 camcorder thrilled a crowd of over 100 Los Angeles producers, directors, and high definition (HD) enthusiasts with the latest information on the upcoming DVCPRO HD product. Every aspect of the history and design methodology of this next revolution in affordable HD image acquisition became clear in the 1.5 hour lecture and hands on walkthrough of the HVX200 device.

This camcorder has extensive coverage from around the blogosphere, including HVX User, P2 Info Net, and Creative Cow P2 forum. The most interesting tidbits from the discussion and presentation in no particular order:

Panasonic showed coyness in revealing the HXV200 imaging block specifications, but rather had actual test footage from a prototype camcorder, and asked the audience to judge the final results, and not compare pixel count or CCD size. In the test footage at the booth, and some projected engineering style capture of a luscious tabletop scene of spinning desk accessories, textures, and reflective materials the image held it own. One audience member quipped that we did not actually see raw capture off the P2 card, but due to logistical reasons, the source material was transferred via analog component to an AJ-HD1200A VCR and played back on a DVCPRO HD tape, preserving the DVCPRO HD codec output.

For four days the prototype HVX200 played back a scene on P2 from the IBC 2005 Amsterdam show, with street cars during a night and daylight shot, and on the playback display, the images looked stunning with absolute clarity and image fidelity, even into the shadows. This also demonstrated the robustness of the P2 media, as hundreds, if not thousands of eager camera operators touched, prodded and cajoled the camcorder all weekend long. I left on the final day and the media and camera continued to play back the Amsterdam scene without tape wear or hesitation. The DVCPRO HD codec, based on the compression technology of DV, but at a color sampling of 4:2:2 instead of DV 4:1:1 is one step closer to the highest quality HD-D5, but at a more affordable price point. Panasonic has already announced in some future camcorder a full D5 unit, most like two years away. Currently, a HD-D5 VCR lists at $99,000 as compared to the $5995 list price for the AG-HVX200 camcorder. Another useful point during recording, using the P2 media, the camcorder will be able to remove redundant frames, so a 24p recording session will contain only the necessary information, rather than the limitation of a linear tape based system that maintained a constant tape velocity and needed to always record 60p, regardless of the variable frame rate setting. The output from the firewire interface follows this paradigm, always receiving the full 60p information stream.

This camcorder may be the best product designed for the aspiring filmmaker and documentarian. Though the camcorder is chubby and larger than DV camcorders, the weight is low and controls are well placed, and it offers specifications unavailable in any other under $10,000 HD camcorder. This camera will have four channels of uncompress audio at 16 bit 48 kHz sampling, as compared to the paltry 2 channel MPEG-1 Audio Layer II on HDV camcorder. For a small budget film, or documentary sound is over 50% of the experience, and requires perhaps more care and handling than the picture. Previously, one would need to chain a DAT or MiniDisc recorder to the camera for high sound quality, but the Panasonic rig takes care of that necessity.

Now, the faithful must wait a few more weeks. Panasonic expects to receive shipping AG-HVX200 camcorders by the end of November 2005, but I suspect that it will premiere at the Tokyo Inter BEE 2005 show in mid November, and become more widely available by early 2006.