I've said it before, I'll say it again: I am SO excited about this news, both the 100 & 700. I sincerely expect to own 2 - 700's and 1 or 2 100's by the end of the fiscal year. I've kludged through more than 6 months of my 200's not playing nice with FCP without ProRes and I'm THRILLED to have a solid state solution WITH HD-SDI that finally plays nice with FCP. Oh, and 20% wider stock lens! Maybe I'm drinking the Kool-Aid but I drank Sony's for years so...

There's a few other interesting statements on the site
 

quote:
"Drawing from its experience in developing rack mount encoders used by major television stations, JVC developed a proprietary codec capable of providing highly efficient compression up to 35 megabits per second, a bitrate that can support full 1920 x 1080 sampling. This results in recorded images of exceptional quality."

So is this their codec or Sony's??

and for current ProHd owners, even though with peaking turned up the evf works fine, but can we bolt the new evf onto our existing cameras? More is always better agreed! And the current evf is a known weakenss when it comes to durability, so if one breaks, can one replace it with the new evf instead?


and quote:
"New high resolution LCOS viewfinder
The GY-HM700 is equipped with a new, rugged high resolution viewfinder based on a new .45-inch 1.22 million pixel Liquid Crystal on Silicon (LCOS) panel (852 x 480 x 3). This new all-digital viewfinder displays images with more than 5 times the resolution of typical color viewfinders. Its sturdy reinforced die-cast aluminum chassis and LED light source ensure years of trouble-free operation. A serial digital interface means there's no quality loss, even with razor sharp graphic overlays"

Is there anything native to FCP besides ProRes?

Here is what I am thinking. I am thinking that JVC has "developed" a 35 MBPS ProRes. This might seem crazy at first, but it's uncanny how ProRes and Avid's DNxHD codec tend to mirror each other for bitrates. Avid has a 36 Mpbs proxy size. Would it be a tough stretch to think that maybe JVC has licensed the ProRes code and come in with a 35/36 Mpbs ProRes to offer native FCP recording? And then add SxS Long-GOP recording at extra cost to support the PC side?

Honestly, if the FCP native codec IS ProRes, then nothing further need be done for PCs I don't think. PC's can already read ProRes thanks to Apple opening up the decode portion of the codec. I wonder if this little project was a catalyst for that happening.

Proprietary in that it'll go directly to an SDHC card. XDCAM is Sony's codec, but only JVC writes it to SDHC (without an Express Card adapter).

Chris, just to confirm. You are saying the HM700 can save EITHER .mov OR JVC's XDCAM variant to SDHD, WITHOUT the SxS recorder?

So, I wouldn't need to buy the SxS add-on if I want to record XDCAM to SDHD?

JVC Professional Color Brochures page


Link to full brochure above. .

The brochure is worded in a very confusing fashion. I think it depends on your definition of native file format. But note: HQ mode:1920 x 1080/59.94i (.mov only),So it appears that some of the resolutions can only be recorded in .mov anyway.

So, that just means a slower import/transcode in Avid vs. native QT FCP.

Native file recording—world's fastest shoot-to-edit workflow.
! Native Final Cut Pro format
Edit immediately without conversion or transcoding
! .MP4 file format
Available with optional SxS Media Recorder (This is the part that is confusing)

Are they saying that native .mp4 is only available with sxs or that the option of sxs is available in addition to sdhc and both can record in native .mp4???

Is there a utility that rewraps .mov to .mxf??


Recording media 2x SDHC memory card Class 6
Video recording Video codec: MPEG2 Long GOP
File Format: Quick time format for Final Cut Pro/ISO .MP4 media file format (w/KA-MR100)
Recording mode NTSC setting: HQ mode:1920 x 1080/59.94i (.mov only), 29.97p, 23.98p,
1440 x 1080/59.94i, 1280 x 720/59.94p, 29.97p, 23.98p
SP mode: 1440 x 1080/59.94i, 1280 x 720/59.94p, 29.97p, 23.98p
PAL setting: HQ mode:1920 x 1080/50i (.mov only), 25p
1440 x 1080/50i, 1280 x 720/50p, 25p
SP mode: 1440 x 1080/50i, 1280 x 720/50p, 25p
Audio recording LPCM 2ch, 48kHz, 16-bit.

Also, I noticed that over and undercranking is available to sdhc in 720p. Cool.

Yes, same as the Sony. Good deal.

I think the hype is reaching maximum altitude. But as the cloud settles down it's going to be a minor improvement over already existing technology. It would have to be an earth shattering difference in picture quality to make me sell (with loss) my pro-hd camera and buy this one. I think Red Scarlet 35 price looks way more appealing in the price range.

Patiently waiting for Tim and Chris to give us the lowdown on the camera!! Very eager to know what she can do!

Why then doesn't JVC just use .mov file format only? I know PC's can use .mov files on import, however, aren't we going to have to render to watch? What camera uses prores to shoot? I thought this was a FCP codec that trancodes to this format.

I am just trying to find out whether my PPro CS3/PC setup will work with these files natively. I do not want to have to render if the files can't be used natively. As far as I can see these are the HD file formats I am able to use in Premiere natively: HDV(m2t), DVCPRO HD(mxf), XDCAM HD(mxf), XDCAM EX(mp4). If indeed the JVC cams can shoot .mp4 files to SDHC I am all set. However, if it uses a format Premiere doesn't support natively, this is unacceptable.

Also, what is the extension going to be if we shoot in 25mb or 19mb mode? Is it still .mp4 or something else? I used to own a JVC GZ7 full hd camera that had a 1920x1080 mode in mpeg2. Unfortunately, the files were stored in a .tod format that Premiere did not recognize and had to be converted to .mpg before import. This was annoying and I am hoping this isn't the case with these new cams.

Continuous Clip Mode
 

Continuous Clip Mode- YES!

It can basically shoot one giant clip with cuts included. THANK YOU JVC!

I hate having 1000 clips per project. Hate it, hate it, hate it.

Also- REALLY looking forward to seeing 720p60 at 35Mbps.

Steven, this really belongs in it's own thread. It's been discussed before, but I too have struggled with this. It's mpg2 artifacts that turn up when settings aren't optimized. Mpg2 itself tends to throw out information too soon in these areas, and it gets even uglier if you are then recompressing for dvd.

To get back on point, this is one reason to get very excited about the move to 35mps in the new generation cams. Seat of the pants tells me we won't be facing the bit starvation experienced at 720 60p with the 200 series, and 1080 30p will also be handled with aplomb.

The proof of the pudding will of course be in real life, and I hope to have the chance in the near future. Let me know if there are any specific things you'd like checked if/when I have this brief pre-release opportunity.

The "trade-in" was wild fantasy speculation, without any basis. Please let it die a natural death.

The "Brain" only for the RED Scarlet 35 (smaller 35) is $7000. I don't think the this will be in the same price range as the new JVC camera once a lense, viewfinder, interface, recording device, etc. etc. etc. are added on. Also, not sure ergonmomics are going to be optimum for the kind of uses the new JVC camera is designed for.

Besides that, the specs on the new JVC cameras are so spectacular, I'm not sure image quality will be an issue as to whether one should own these cameras or not. More and more street cred and image are more important than substance, so it may be top drawer to shoot without even recording.

Yes PC's can use QuickTime - HOWEVER: Those of us who use Avid know quite well that it cannot import timecode from quicktime files. I'd rather have something that is compatible and it sounds like a lot of people would also.

The fact that no one from JVC has chimed in yet shows me that it looks like our assumptions are right: if you want to record anything with the Sony codec, you have to buy the Sony hardware. That doesn't do me any good and at that point I'd rather buy the Sony EX Camera, it looks cheaper at that point, plus you can use the SD workaround and shoot just as cheaply.

I beg to differ. The red Scarlet 35 has the stratosphere dominated with hype. The JVC is a very straight ahead and logical evolution of existing technology. We are still dealing with the realities of extreme compression of higher frame rate progressive HD footage here, and the moderate increase paired with compatibility to existing economy flash cards is a practical niche for working professionals.

Jack, I think that scarlet is perhaps the ultimate tool for "shooting without recording" in this price range!