JVC HD 100 gets a major upgrade

Wayne Morellini · April 25th, 2006, 07:16 AM

Has anybody heard what codec data rate this uses?

This definitely is the camera the 100 should have been at it's present price.

I hope it uses some super sensor design at least, even cheap mid range sensors are getting 90db ranges and SN in the high 60's (or low 70's). The 2/3rd FIllfactory Ibis5a could do that (using external ADC) was around $100 in bulk, and is known to be excellent choice for 3 chip, not to mention the lower end Altasens 1/2inch 720p version.

If they has used sensors of that grade then I would definitely say the HD100/200/250 would be more worth their price. Especially if we got 35mb/s+ variable codec.

Paulo Teixeira · April 29th, 2006, 10:03 PM

Wayne Morellini,
I’m been waiting for either Sony or JVC to have a 1/3rd inch 3CCD camera that runs the tape faster to 35 mega bits per second but they aren’t paying attention. It makes perfect cense. Why not? Your right, it would be more worth the price if they listen.

Wayne Morellini · April 30th, 2006, 02:08 AM

Well, it is a marketing thing, over time it should become available, but for now they are selling plenty of lesser gear.

As for the rest of my previous post ;), I saw a post with the real information immediately after I posted it (I think it might have been posted as I was still writing) so much for those hopeful wishes.

I clearly think there is a prosumer market for something better. If they ever go to 19Mb/s Mpeg4/h264 HDTV, or bluray versions (that canbe even faster) then there will be a clear need for something better. I clearly think that the marks, in Mpeg2 datarates are: upto 50Mb/s for prosumer video, and upto 100Mb/s for pro video, and beyond that for cinema. So there is room for $4K+ cameras to do 35Mb/s, and $15K+ cameras to do 50Mb/s, and more expensive cameras 100Mb/s.

The main problems are artifacting to do with complex scene changes and curves, like ripples, waves, leafy scenery. These just stick out at a audience, the larger the screen the worse it is. If they were really smart they could design it to isolate and properly encode these. But for Blurry motion and things whizzing by, it doesn't matter so much, as long as they can program it to preserve the authentic shape and contrast, not macro blocks. Preserving the shape at the expense of it's internal detail should be able to be done with similar amounts of data.

Mike Tesh · April 30th, 2006, 10:58 AM

Is this PL mount adapter a separate purchase from these cameras? If so does anyone have any idea on price? And do you think JVC will make it available for the HD100 as well? In other words will they offer a firmware update to add the image flip?

Simon Antoniou · May 2nd, 2006, 10:00 AM

Although I woudent need 60p, it is a much better option for producing more professional looking slow motion, no?

Joe Carney · May 2nd, 2006, 10:46 AM

Yes for certain types of slomo (film based usually uses 120 or even 240fps for slowmo).
It will also be great for recording sporting events which was one of the original reasons 720x60p was created in the first place. The transition to 1080i for final broadcast should be very smooth.

Simon Antoniou · May 2nd, 2006, 11:25 AM

And I understand our current option on the HD100 would be shooting in SD50 and uprezzing?

April 30th, 2006, 10:58 AM	#19
Mike Tesh Major Player Join Date: Jan 2003 Location: Detroit MI Posts: 253	Is this PL mount adapter a separate purchase from these cameras? If so does anyone have any idea on price? And do you think JVC will make it available for the HD100 as well? In other words will they offer a firmware update to add the image flip? __________________ ScapeFilms.com \| My Photography \| IMDB Profile

May 2nd, 2006, 10:46 AM	#21
Joe Carney Inner Circle Join Date: Jul 2002 Location: Centreville Va Posts: 1,828	Yes for certain types of slomo (film based usually uses 120 or even 240fps for slowmo). It will also be great for recording sporting events which was one of the original reasons 720x60p was created in the first place. The transition to 1080i for final broadcast should be very smooth. __________________ Boycott Guinness, bring back the pint!!!

April 25th, 2006, 07:16 AM	#16
Wayne Morellini Inner Circle Join Date: May 2003 Location: Australia Posts: 2,762	Has anybody heard what codec data rate this uses? This definitely is the camera the 100 should have been at it's present price. I hope it uses some super sensor design at least, even cheap mid range sensors are getting 90db ranges and SN in the high 60's (or low 70's). The 2/3rd FIllfactory Ibis5a could do that (using external ADC) was around $100 in bulk, and is known to be excellent choice for 3 chip, not to mention the lower end Altasens 1/2inch 720p version. If they has used sensors of that grade then I would definitely say the HD100/200/250 would be more worth their price. Especially if we got 35mb/s+ variable codec.

April 29th, 2006, 10:03 PM	#17
Paulo Teixeira Trustee Join Date: Dec 2005 Location: Massachusetts Posts: 1,773	Wayne Morellini, I’m been waiting for either Sony or JVC to have a 1/3rd inch 3CCD camera that runs the tape faster to 35 mega bits per second but they aren’t paying attention. It makes perfect cense. Why not? Your right, it would be more worth the price if they listen.

April 30th, 2006, 02:08 AM	#18
Wayne Morellini Inner Circle Join Date: May 2003 Location: Australia Posts: 2,762	Well, it is a marketing thing, over time it should become available, but for now they are selling plenty of lesser gear. As for the rest of my previous post ;), I saw a post with the real information immediately after I posted it (I think it might have been posted as I was still writing) so much for those hopeful wishes. I clearly think there is a prosumer market for something better. If they ever go to 19Mb/s Mpeg4/h264 HDTV, or bluray versions (that canbe even faster) then there will be a clear need for something better. I clearly think that the marks, in Mpeg2 datarates are: upto 50Mb/s for prosumer video, and upto 100Mb/s for pro video, and beyond that for cinema. So there is room for $4K+ cameras to do 35Mb/s, and $15K+ cameras to do 50Mb/s, and more expensive cameras 100Mb/s. The main problems are artifacting to do with complex scene changes and curves, like ripples, waves, leafy scenery. These just stick out at a audience, the larger the screen the worse it is. If they were really smart they could design it to isolate and properly encode these. But for Blurry motion and things whizzing by, it doesn't matter so much, as long as they can program it to preserve the authentic shape and contrast, not macro blocks. Preserving the shape at the expense of it's internal detail should be able to be done with similar amounts of data.

May 2nd, 2006, 10:00 AM	#20
Simon Antoniou Regular Crew Join Date: Dec 2004 Posts: 73	Although I woudent need 60p, it is a much better option for producing more professional looking slow motion, no?

May 2nd, 2006, 11:25 AM	#22
Simon Antoniou Regular Crew Join Date: Dec 2004 Posts: 73	And I understand our current option on the HD100 would be shooting in SD50 and uprezzing?