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I am an owner/operator of two cameras the Panasonic AJ-HPX 3700 P2 HD Varicam and the Red One Mysterium-X Camera. I have been shooting HD for over 10 years now starting with the Sony HDW 700A then the Sony F900 camera.
 
Toyota Canada wanted the best possible image to project to a large audience, and the solution was found in high definition. I was so impressed with the picture quality that I ran out and bought a high definition camera.
Both cameras are universal high-definition camera: they can shoot in NTSC and PAL, as well as record in several different frame rates Panasonic - (60I, 50I, 30I, 30P, and 24P + Variable frame rate) Red One MX – 1to 120fps.
The Red One Mysterium-X Camera can shoot at multiple frame rates 1 to 120fps. The 4K, 3K ,2K Digital Cinema Camera with 4:4:4 with a Pixal Array of 4520 x 2540 with film like gamma curves. I use it for Movies, Documentaries, TV Series, Commercials, Corporate and Infomercials even the Web. It’s the camera that is replacing Film with a supper 35mm Lenses and depth of field.
Now a little about the cameras:
The Red One M-X Overview:
The RED ONE M-X was created as an affordable, user-friendly alternative to celluloid film and marketed for the independent filmmaker. It was designed for flexibility and functionality -- with it's streamlined body made specifically to maximize your shooting options. RED's design, along with a 35mm PL lens mount, allows you to take advantage of the world's best optics. RED ONE's modular design means you can create multiple configurations. You can customize your on board camera accessories, such as monitors, matte boxes and media storage, to create the best set up for entire production.
The RED ONE M-X in a nutshell:
Typical high-end HD camcorders have 2.1M pixel sensors and record with 3:1:1 color sub-sampled video at up to 30fps. The RED delivers 12M pixels at up to 60fps and records 12-bit native RAW or 10 bit over-sampled HD -- you decide. What does that mean? It means that RED records more than 5 times the amount of information available on other HD cameras, every second and provides a vastly superior recording quality. Don't need all that data for your workflow? Dial it back, and keep all the other advantages of the Mysterium - X Super 35mm cine sized sensor. You get the same breathtaking depth of field and selective focus as found in film cameras. And 12,065,000 pixels deliver a resolution that can only be called ultra High Definition.
Tech specs: Sensor: 12 Megapixel Mysterium-X
Physical Size: 24.4mm x 13.7mm (Super35mm)
Active Pixel Array: 4520 (h) x 2540 (v)
Full Pixel Array: 4900 (h) x 2580 (v)
Dynamic Range: 66 dB
Depth of Field: Equivalent to 35mm Cine Lenses
Acquisition Formats: 2540p (4k+), 4K, 2K, 1080p, 1080i, 720p
Frame Rates (variable):
4K: 23:98, 24, 25, 29:97 / 1-30 fps
3K: 1 to 60 fps
2K: 1 – 120 fps
RAW output: High speed serial interface
Video Outputs: Single and dual link HD-SDI 2K 4:4:4, RGB 1080p 4:4:4, RGB 1080p 4:2:2, 1080i 4:2:2, 720p 4:2:2
Red One MX all Dressed Up
Lens Supplied with Camera: Cooke 18 – 100mm T3 Zoom PL mount
RED ONE M-X ... the basics:
My RED One M-X kit (pictured above), shoots at 2K at up to 120fps, 3K at up to 60fps or 4K at up to 30fps, all with progressive scan (RED doesn't do interlaced).
There are two major benefits gained from these formats; when shooting at 4k the depth of field is the same as 35mm film, giving a look that is appreciated by most directors. When shooting 2k it is possible to shoot high speed, up to 120fps, which leaves the Varicam standing!
Even at its lowest setting, the RED One has a bitrate of around 225 Mbs, much higher than the 140 Mbs of HD-Cam and considerably higher than the BBC minimum requirement for HD material of 100 Mbs.
The RED One has a PL mount which will accept most 35mm and Super16mm lenses, and additional, specialist lenses can be hired in as required.
Most edits, even for cinema, are done at 2k resolution. By shooting at 4k you can retain the 35mm depth of field and also have a bit of room to "zoom" in to the image or apply "steadying" effects when necessary. It is very easy to mix 2k and 4k shooting on the same time-line, without encoding.
RED One M-X records the data as a R3D RAW file, basically the video equivalent of RAW files in stills photography. This allows for significant changes to be made in the "look" and grading of the pictures in post production.
Digital Media:
Digital media is recorded on to 320GB hard drives (approx 3hrs at 4k), or 8GB CF Cards (approx 4 minutes at 4k). As it is a tapeless format, the data needs to be backed up (ideally twice) on to portable drives for production to take the away. Therefore a laptop and portable drives are required on set.
Viewing Shots & Material on Set:
The kit comes with an on-board 5.6" LCD screen which is very clear, even in bright light. The director can view the screen which is either mounted on the camera or hand-held with a 2m cable. It is possible to also connect up to 2 HD-SDI Monitors and 1 HDMI monitor. The material can be played back directly from the camera and if you have a MAC Laptop on set, with the RED Quicktime Codec installed. download codec
Sensor Comparisons: 4K refers to the horizontal size of RED's sensor. The 4520 pixels horizontally by 2540 pixels vertically gives the RED the equivalent of 12 megapixel DSLR imagery. At 4K 2:1 the RED captures a frame at 4096 x 2048 pixels. 4K 16:9 the RED captures a frame at 4096 x 2304 pixels. This area would cover 4 SEPARATE HD frames at 1920x1080each.
The Panasonic AJ-HPX 3700 P2 HD Varicam Overview
The Panasonic AJ-HPX 3700 is a variable frame rate camera. It is at its best for everything from Movies, large or small, Documentaries, TV Series, Commercials, Co
rporate, Infomercials..... you name it you can do it even transfer 24p footage to film. Now the camera records on five 64GB P2 Cards giving you up to five and half hours at full AVC-Intra 100 and up to eight hours at DVCPro HD. IT has a 2.2K Full Raster 1920x1080 HD Image at 4:2:2 & 4:4:4. It is also equipped with a color viewfinder so there is no color temperature issues after.
It offers way higher quality than even the top Sony HDW-F900R Camcorder and competes directly with the Sony F-23, ARRI D-21 and Panavision Genesis! Also, because there are no moving parts, makes this technology extraordinarily reliable and robust.
Once you’ve experienced it, you will readily agree that HD is the only way to go.
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So why is the Panasonic cameras the choice of the Independent filmmaker, and why are the number of television shows, shooting in HD, increasing exponentially? There are several reasons:
1. RESOLUTION
With over 2.2 million pixels, a high-definition camera has nearly 6 times the resolution and 11 stops in latitude. The Panasonic AJ-HPX 3700 P2 HD Varicam resolution is a full (1920 x 1080) is most noticeable when it is projected on a motion picture screen.
2. CUSTOMIZED SETTINGS
Color temperature, contrast range, picture sharpness, highlight handling, picture stability, highlight handling, and texture can be adjusted within the user menus of the Panasonic AJ-HPX 3700 P2 HD Varicam. These settings can be saved to a memory stick, and, used later if the DP wishes to create the same mood, or handle the subject in an identical manner.
3. 10 BIT PROCESSOR
Unlike its predecessor, the Sony F900 the Panasonic AJ-HPX 3700 P2 HD Varicam gives you full ten bit uncompressed processor, which allows for more realistic reproduction of colors and highlights.
4. 24P FRAME RATE
The Panasonic AJ-HPX 3700 P2 HD Varicam will shoot in native 24p progressive fields. By shooting in 24P, you'll avoid artifacts (often seen when shooting in interlaced fields), and create motion blur. This will give the footage a look similar to 35mm film. The camera has a variable frame rate 1 to 30 fps and can be played back a real time.
5. PICTURE ON SET
When shooting on set with the Panasonic AJ-HPX 3700 P2 HD Varicam, with a Panasonic 14 inch HD monitor will allow you to see the image, in it's native format, as it's recorded. You'll know, exactly, what you're getting.
6. SYNDICATION/DISTRIBUTION
One of the most valuable assets of a production company is its library. It can always be relied upon in order to generate revenue. By shooting in 16x9 HD now, you extend your project's shelf-life, and increase the potential return on your investment.
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