"On the Road with a V1" has been posted

[Steve Mullen]

The first of my "On the Road with a V1" reports has been posted at camcorderinfo.com:

http://www.camcorderinfo.com/content...V1U-Part-1.htm

I decided to start with the "no smear" topic because it is clearly a function of CMOS and so folks don't have to worry about the details of shooting.

However, you'll also notice how the V1 performs in nighttime outdoor work. Gain was between 0 and 6dB.

About two reports per week will be posted.

Below are a few pix from Malaysia. The last one shows an FX7 on display.

[Marshall Levy]

Thanks for the review thus far, it's much appreciated.

I have several Z1U's which have done very well for me and don't want to get this camera if it's a step backwards to some extent, but I do need another camera in the next few weeks.

[Chris Medico]

I have to admit that the resistance to smear is one of the main reasons I choose the V1 over a CCD based camera.

I've shot a good bit with my HC3 and it handles point light sources very well. No distracting smear.

Chris

[Thomas Smet]

The latitude does look nice in those images and I thank you for the information...

But why the tiny thumbnails? You point out the lack of noise in the article but any camera would have low noise when scaled down that small. I mean I agree that there is no noise from what I can tell but it sure would be nice to see those shots at full rez.

I am not trying to be negative in any way but is there a way for us to see an actual framegrab and not a scaled down to 29% sample?

I only ask because I am excited to see what this camera can really do.

Thanks again for the article and I look forward to your other parts.

[Steve Mullen]

Originally Posted by Thomas Smet

I am not trying to be negative in any way but is there a way for us to see an actual framegrab and not a scaled down to 29% sample?

I only ask because I am excited to see what this camera can really do.
.

It would take forever to upload! Also, this is a way of making sure my photos don't wind up on other sites as camera grabs.

Also, I assume the V1 is shipping this week so you'l be able to go to your dealer and try one out.

[Tom Hardwick]

Steve, I opened your post and reeled back in utter surprise, as I too have been shooting in exactly the same location as you just last week. Not only that, but we may have missed each other by less than an hour, as I spent some time playing with that very same FX7 in the Sony shop.

In fact my ever-patient wife sat on the same sofa that shows on the Bravia screen that the FX7 is attached to, and watched as I played with all the controls I could get my sticky hands on. I was mightily impressed by those little 1/4" CMOS chips, and the 20x zoom just seems to go on forever.

In the max aperture mode the shop's interior lighting was forcing the FX7 to use, the differential focus obtainable at full tele is delightful. The lack of chip smear was easily tested out using the overhead spots and I can well see this making FX1 buyers go weak at the knees.

Here's a shot of me outside in the incredible heat and humidity taken by my brother Richard.

tom.

[Thomas Smet]

Originally Posted by Steve Mullen

It would take forever to upload! Also, this is a way of making sure my photos don't wind up on other sites as camera grabs.

Also, I assume the V1 is shipping this week so you'l be able to go to your dealer and try one out.

How exactly would a few full resolution still images take forever to upload?

Also in part 2 why are the last few images from the screen capture from FCP so blurry? I mean even the FCP interface is blurry which means the whole screen capture has been blurred for whatever reason.

[Marcus Marchesseault]

In part 2 of this review (posted before part 1?), there is a section about latitude that talks of values over 100ire being truncated by NLE software.

"(Final Cut Pro can be set to allow “Super White” so clipping does not occur.)"

Can other packages like Vegas allow this function? I'll switch away from software that screws with my footage without asking my permission. Latitude is a key to quality footage and I want every single value between 100 and 110 available for use during color correction.

[Steve Mullen]

Originally Posted by Thomas Smet

How exactly would a few full resolution still images take forever to upload?

Also in part 2 why are the last few images from the screen capture from FCP so blurry? I mean even the FCP interface is blurry which means the whole screen capture has been blurred for whatever reason.

Obviously you've never uploaded 10MB from India. And 10Mb is the max upload. So images were scaled down to fit.

But the real question is why you are so concerned about stills. Do you really think you can judge HD video quality by looking at de-interlaced stills on your computer screen? This is interlaced video -- not progressive.

That's exactly why I no longer post such images -- they are worthless. If you want to evaluate a camera you either buy/loan the camera and evaluate it yourself -- assuming you have a calibrated HDTV monitor -- OR trust a reviewer.

The pix illustrate the story -- they are not the story.

[Steve Mullen]

Originally Posted by Marcus Marchesseault

In part 2 of this review (posted before part 1?), there is a section about latitude that talks of values over 100ire being truncated by NLE software.

"(Final Cut Pro can be set to allow “Super White” so clipping does not occur.)"

Can other packages like Vegas allow this function? I'll switch away from software that screws with my footage without asking my permission. Latitude is a key to quality footage and I want every single value between 100 and 110 available for use during color correction.

That's why I stopped using Premiere Pro.

Fundamentally, there are NLE's that work in RGB colorspace and those that work in YUV colorspace. Both are fine -- as long as full 0 to 254 YUV range is maintained whenever video comes into and leaves. However, I can't think of any RGB NLEs that really do this. Moreover, there are chroma errors converting to and from RGB and YUV colorspaces.

By the way, that includes the RGB that goes to your computer monitor. That is why Canopus sells a board that outputs HD-SDI for EDIUS. They know that most often RGB connections screw you.

And yes-- losing 10IRE is 10% of the total range. Moreover, I'm not sure but I think even broadcast now allows signals to 105IRE. Maybe, almost 110IRE.

[Steve Mullen]

Originally Posted by Tom Hardwick

Not only that, but we may have missed each other by less than an hour, as I spent some time playing with that very same FX7 in the Sony shop.

Tom, that sure looks like the same blue sky and cloud!

It would have been fun to meet you.

Back in Malaysia -- clouds to day.

[Piotr Wozniacki]

Steve, since Sony Vegas 7 is now being attached to any "pro" HDV camera from a specialized Sony dealer in Europe, I wonder if Vegas has this capability of not clipping the super-whites?

[Douglas Spotted Eagle]

Vegas will not clip the signal unless you tell it to. It leaves the full range alone. You can add a filter to clip to meet existing standards, and some broadcasters will accept 105IRE if the content is HD, but I'm not aware of any broadcaster accepting content beyond 105IRE.

[Marcus Marchesseault]

Thanks for that clarification, Spot. I'm not worried about broadcasters. I only want to retain as much latitude as possible for digital projection or internet distribution. I always hated what NTSC TVs would do to my footage compared to the greater range of a computer monitor. I am new to Vegas and am pleased to know I get to keep that greater range. I may just do some color curves anyway to bring it down to 105IRE just for safety. It will be nice to have that extra bit of detail in the highlights when doing color correction.

Vegas7, a V1U, and a Brevis35 all in the next few weeks. I'm so excited to get started!

[Douglas Spotted Eagle]

Seems like it's christmas at your house already, Marcus! Dang, you'll be rolling in pixel heaven in a few days! Congrats!!