Noah Kadner

That sounds like a reasonable explanation to me. I apologize to Richard for calling BS on his story. I also understand the situation a little better now. I had a feeling it was not that simple. The bottom line is as David and I both observed first-hand, in terms of other manufacturer's reps being admitted into the Red booth and screenings, this incident was the exception, not the rule. -Noah

Hi Mark- I think Red will spur healthy competition across the industry, which gives us all something to look forward to. -Noah (And just for the record I am not 'from Panasonic.' I happen to own some of their cameras and work as a freelancer, demonstrating post-production workflows for Panasonic at NAB. They're nice people who are my friends. Same goes for the folks at Red. So, my comments are from a third party with nothing to gain other than a wider choice of equipment to shoot my own stuff on and of course, more workflows to figure out in post.)

That's a really funny story. I went to the Red screening wearing a Panasonic badge and even told Jim congratulations after watching the short. So I don't know you, but I must respectfully call BS on your tale. If someone did happen to get ejected during this alleged incident I highly doubt it had anything to do with being from a competing company because there is no company with a competing product as of yet. The only folks I heard were even threatened with bouncing were for trying to videotape the footage off the screen because they didn't want crappy Youtube quality video getting out there... -Noah

The number one thing to get your mind around is that with the DVX there is a difference between what is photographed and what is put on tape. A standard NTSC 60i signal is _always_ what is put on tape. This gives you a DV tape you can play back on any DV deck or camera. The different capture modes determine what is photographed. In the 24p modes, 24 discrete frames are photographed each second. Next the computer in the camera performs a telecine process to add enough interlaced frames to get a 60i signal. Then this is recorded to tape. Same exact process as what happens when you telecine 35mm film shot at 24fps to 29.97 NTSC video. Those extra frames are created the same exact way. In 24pA mode the difference is that the telecine cadence is laid off in such a way that it can be detected and removed automatically by FCP during ingest. The advantage is easier workflow and you don't have to do a recompression of footage to get to 23.98 because the added frames fall perfectly between all the 24p frames you want. In 60i mode, the DVX100 becomes the same as any other DV camera. 60 fields are photographed per second and 60 fields are directly laid off to tape. There is no telecine process required. Of course there is a vast aesthetic difference between the two. The 60i mode looks like video, the 24p modes look like film. My article in Larry Jordan's site continues this discussion as to why it's important to understand this concept when capturing in FCP: http://www.larryjordan.biz/articles/lj_dvx_capture.html Hope that helps. -Noah

Best way to check is if the dealer is authorized. Go to this site and type in the dealer's zipcode: http://b2b.panasonic.com/webapp/wcs/stores...ch.jsp?cmpycd=3 If they don't come up they are dealing grey market. Also on the DVX100- any price below about $3,200 is more than likely grey market. There's no free lunch. Noah

950 is a solid one though pretty much discontinued at this point. If the hours are low it could be a bargain solution. Noah

It's not the years, it's the mileage. :) I'd call 200 hours a moderate to heavy amount of use. But was it treated well for those hours?

You could convert the 60i material to 24p via the DVFilm Maker program- dvfilm.com For output to Digibeta you'd need either a BMD or Kona card or would simply output to DV and then dub to DigiBeta. The 3:2 pulldown would be added back in as you playback in either case. Noah

A Polarizer filter will produce the proper effect. Using a red filter on a color video camera will simply make everything very red. Noah

That's the service menu. Not meant to be adjusted outside of the service bench. Offers no benefit and could void the warranty if something gets messed. Dig?

Ha ha- yes but no one loses a client if a shot is missed on the news. For me a $10,000 production day just isn't worth an $8 tape savings. But the tapes are certainly capable if you want to pinch pennies.

I'd tend to agree. There are few shots on any given project I'd be happy to lose for the price of another blank tape.

There's a couple of reviews in the works. Also if you check on dvxuser.com you'll see some comparison footage.

Jittering of an optical or electronic nature? Either the camera wasn't stabilized well enough or perhaps it received so much vibration that the record heads weren't engaging properly. Got an example you can post? Noah

Firewire output is "baked in" so to speak. You can of course tweak to your hearts content once you capture into your NLE but coming off the deck it's unchangeable from Firewire. Noah