Cloak Media

On 24 February 2006 Panasonic, through their high-def blog site, revealed the underpinnings of the AG-HVX200 imaging block. The camcorder uses a revolutionary 3 CCD pixel shift technology to optimize three 960 x 540 imaging sensors to deliver both 1280 x 720 and 1920 x 1080 progressive images to the P2 media. Their decision to utilized 1/3 inch CCD’s required unique engineering decisions beyond the raw pixel count other manufactures report.

In the still camera arena, there are small CCD 8 megapixel cameras, but they generate so much noise and perform so poorly in low light conditions, they become unusable. a more robust 4 megapixel or larger sensor 6 megapixel camera would deliver a more usable device beyond the technical specification. As the production ramp up of the Panasonic HVX200 continues, more folks will report on any picture degradation because of the novel pixel shift or spatial offset technique. Read the blog article and decide for yourself.

CCD representation

In a very large North American launch, Panasonic premiered the AG-HVX200 to the public via full page ads in newspapers including the Los Angeles Times, New York Times, and the Wall Street Journal. At the DV Expo in Los Angeles, Panasonic contracted with filmmakers to take the VariCam sibling HVX200 through it’s paces, with footage of a college basketball game, Hollywood street scene, a frame rate exploration of a backlit martial artist, and a green screen music video.

Barry Green’s footage looked fantastic. He shot multiple frame rates at 720p and also some 1080p capture. The Panasonic booth had a 17 inch LCD display as the presentation monitor, and the footage was 80% of the VariCam. Michael Caporale showed an experimental music video shot on a green screen. The original pre-composited material looked sharp, excellent contrast, and ready for green screen removal. Caporale also shot run and gun footage of a Hollywood movie premiere, which looked bright, color accurate, and competent.

Panasonic promised sometime in the future these shots should be available on a DVD. I hope that similar to the VCR-FireWire-NLE launch some two years ago, an editing software vendor release raw DVCPRO HD from the camera, so anyone can test their NLE of choice with actual image captures.

Panasonic also announced the availability of the AG-HVX200 targeted for 29 December 2005. DV Expo featured a near 2 hour walkthrough by Jan Crittenden Livingston, the product manager for the AG-HVX200, on the design and features of this revolutionary camcorder. Included here are keypoint slides from the presentation.

DV expo panasonic AG-HVX200

DV expo panasonic presentation P2 cinema realized

DV expo panasonic presentation P2 workflow

"DV expo panasonic presentation P2 cinema

DV expo panasonic presentation P2 cinema CCD

At the Egyptian Theatre on Friday September 30 2005, Jan Crittenden Livingston, Product Line Business Manager for the Panasonic AG-HVX200 camcorder thrilled a crowd of over 100 Los Angeles producers, directors, and high definition (HD) enthusiasts with the latest information on the upcoming DVCPRO HD product. Every aspect of the history and design methodology of this next revolution in affordable HD image acquisition became clear in the 1.5 hour lecture and hands on walkthrough of the HVX200 device.

This camcorder has extensive coverage from around the blogosphere, including HVX User, P2 Info Net, and Creative Cow P2 forum. The most interesting tidbits from the discussion and presentation in no particular order:

Panasonic showed coyness in revealing the HXV200 imaging block specifications, but rather had actual test footage from a prototype camcorder, and asked the audience to judge the final results, and not compare pixel count or CCD size. In the test footage at the booth, and some projected engineering style capture of a luscious tabletop scene of spinning desk accessories, textures, and reflective materials the image held it own. One audience member quipped that we did not actually see raw capture off the P2 card, but due to logistical reasons, the source material was transferred via analog component to an AJ-HD1200A VCR and played back on a DVCPRO HD tape, preserving the DVCPRO HD codec output.

For four days the prototype HVX200 played back a scene on P2 from the IBC 2005 Amsterdam show, with street cars during a night and daylight shot, and on the playback display, the images looked stunning with absolute clarity and image fidelity, even into the shadows. This also demonstrated the robustness of the P2 media, as hundreds, if not thousands of eager camera operators touched, prodded and cajoled the camcorder all weekend long. I left on the final day and the media and camera continued to play back the Amsterdam scene without tape wear or hesitation. The DVCPRO HD codec, based on the compression technology of DV, but at a color sampling of 4:2:2 instead of DV 4:1:1 is one step closer to the highest quality HD-D5, but at a more affordable price point. Panasonic has already announced in some future camcorder a full D5 unit, most like two years away. Currently, a HD-D5 VCR lists at $99,000 as compared to the $5995 list price for the AG-HVX200 camcorder. Another useful point during recording, using the P2 media, the camcorder will be able to remove redundant frames, so a 24p recording session will contain only the necessary information, rather than the limitation of a linear tape based system that maintained a constant tape velocity and needed to always record 60p, regardless of the variable frame rate setting. The output from the firewire interface follows this paradigm, always receiving the full 60p information stream.

This camcorder may be the best product designed for the aspiring filmmaker and documentarian. Though the camcorder is chubby and larger than DV camcorders, the weight is low and controls are well placed, and it offers specifications unavailable in any other under $10,000 HD camcorder. This camera will have four channels of uncompress audio at 16 bit 48 kHz sampling, as compared to the paltry 2 channel MPEG-1 Audio Layer II on HDV camcorder. For a small budget film, or documentary sound is over 50% of the experience, and requires perhaps more care and handling than the picture. Previously, one would need to chain a DAT or MiniDisc recorder to the camera for high sound quality, but the Panasonic rig takes care of that necessity.

Now, the faithful must wait a few more weeks. Panasonic expects to receive shipping AG-HVX200 camcorders by the end of November 2005, but I suspect that it will premiere at the Tokyo Inter BEE 2005 show in mid November, and become more widely available by early 2006.

panasonic AG-HVX200 camcorder at resfest 2005 LA

panasonic jan crittenden livingston

panasonic AG-HVX200 camcorder at resfest 2005 LA

panasonic AG-HVX200 ergonomic design

Panasonic AG-HVX200 camcorder at resfest 2005 LA

Panasonic AG-HVX200 camcorder at resfest 2005 LA

Panasonic AG-HVX200 camcorder at resfest 2005 LA

At NAB 2005, producers and directors of photographers wondered what would become of the video cassette recorder (VCR), as solid state flash memory devices usurp the legacy tape based formats like DigiBetacam, DV, HDV, and DVCPRO 50. Sony has chosen a proprietary XDCAM format, based on a magneto optical disk, while Panasonic is going to a SD format PCMCIA card called P2.

As a VCR replacement one would have to consider these factors:

1. Speed must be near real time (one hour video transfered in around an hour or less)
2. Media should be around the same form factor as a video tape
3. Drive price must be near VCR price or lower

Cloak Media has run some tests using published transfer rates and data capacity. The results for a sample four hour project (250 GB):

* prices from summer 2005 survey

Today, the only viable VCR replacment on a small four hour project is the LTO series, AIT 3/AIT 4/SAIT, and the DSLT 600. In the IT industry, data centers have gravitated towards the multivendor LTO. Quantum is the sole provider of DSLT. Sony maintains a strong following for the AIT and SAIT series.

IBM totalstorage ultrium LTO tape drive

In an all electronic workflow, producers and directors cannot rely on video tapes or film as an emergency backup. Previously, a still photography or filmaker would keep their negative or positive, and strike new prints as needed. With the advent of digital photography, and soon in affordable digital filmmaking and video production, there is no physical backup, but only the bit buckets, which when arranged properly would describe a vast landscape, a human face, or an airplane landing.

In the still photography realm, image makers have embraced the new workflow, because they realize the potential for new creativity:

Every copy of the image is an original
Since the image is already digitized, it is easily shared
Digital photos are more easily manipulated and cropped
The arduous process of scanning film is eliminated

However, since the bits become supreme, over the film strip or video tape, special storage considerations must be analyzed and scrutinized. Also, still photography describes a single moment in time, while moving images records that same scene but at 24 to 60 frames per second, so a 2 MB still frame file, can become a 48 MB file per second for video, and with Panasonic DVCPRO HD codec 60 GB per hour. How does one store that much data for archiva purposesl and retrieval in the future?

Today, we have current technology, and very soon the future will be now (Blu-Ray Disc, holographic storage, VXA 3, etc). It used to take a simple trip to the Comdex trade show in Las Vegas, to get a bead on storage, but for all practical purposes Comdex has ended, and may never return. Instead, we need to look to manufactucturer events and niche events like Macworld Expo, Storage Networking World, or AIIM Expo.

To manage and harness the growing terabyte requirements in entertainment consider these storage solutions:

* prices from summer 2005 survey

On the Microsoft Windows OS, iSCSI has reached a very mature level. On Linux, the Linux-iSCSI project has a refined iSCSI initiator. On the Mac, there are only a few vendors, and most are on their first generation iSCSI protocol drivers for Mac OS X Panther 10.3 and Mac OS X Tiger 10.4 OS. This is all going to change in the next several months.

Apple Computer has a SAN solution, compatible with ADIC’s StorNext File System called xSAN, a new disk paradigm that supports Mac OS X application only. In order to use the xSAN file system, one needs to erase completely and reformat any attached drives, including RAID subsystems.

Currently xSAN is supported through fibre channel networks only, and requires a dedicated ethernet port for metadata. iSCSI allows a traditional gigabit ethernet (GbE) network to become dedicated to storage with a moderate performance decrease. One can install a dedicated single or multiple port PCI card for dedicated GbE storage networking and internet traffic.

ATTO Technologies offers the Xtend SAN and Studio Network Solutions offers the GlobalSAN product. In the near future, expect D-Link to have products ready for market that go beyond the 1 GbE connection, stretching the storage platform to 10 GbE, beyond the range of 4 Gb fibre channel.

During the Panasonic CES 2004 keynote address, Andrew Nelkin, Vice President of Panasonic Consumer Electronics Company first hinted that by the first quarter of 2006, Panasonic would produce an affordable high definition camcorder using solid state flash memory devices (secure digital memory card or SD cards). The magic date became Torino 2006, the home of the next Winter Olympic Games, where Panasonic traditionally has a commanding sponsorship.

Fortunately, Panasonic did not wait until CES 2006 to announce the new products, but instead had a very large presence at NAB 2005 for the professional DVCPRO HD AG-HVX200 rollout, and IFA 2005 for the consumer MPEG-2 based camcorder rollout. Both products are expected in the fall of 2005.

Unlike traditional portable video capture devices, these new camcorders have no need for magnetic tape. Video tape has it litany of problems including jams, dropouts, snags, tape breaks, curl, and video tracking along with environmental issues like susceptibility to humidity, magnetic field erasure, and simple aging. The era of the cassette is over, and the opportunity to be creative faster and more robustly has arrived.

The first generation product, with a 2 GB to 16 GB starting storage capacity, will need a new workflow. The recording medium, a reusable SD memory device, once filled, needs to be put somewhere, and a storage area network (SAN) or RAID device would be ideal to protect the invaluable electronic image capture. As the era of solid state recording dawns, notably other backup devices are either already mature or nearly ready to archive the DV, DVCPRO HD or MPEG-2 recording.

Today, DVD+R makes an entry level archive medium, with a 4.38 GB (17.5 minutes in DV format, 11 minutes DVCPPRO HD 720p/24) storage platform. DVD+R is cheap, reliable, and long lived. On the horizon, look to Blu-Ray Disc with a capacity of about 25 GB, five times the capacity of DVD+R. Also on the cusp is holographic storage at some 300 GB a cartridge.

panasonic AG-HVX200 camcorder P2 memory slots

panasonic AG-HVX200 camcorder side view

There’s been a dream of mine to have multiple cheap machines networked in a way to form a hive mind, so commands on one distribute to all and work together. This is loosely called grid computing. Imagine 3 iMac G5’s, Power Mac G5’s, or PowerBook G4’s networked together to work as one. The future is now!

At NAB 2005, Apple announced Final Cut Studio, which allows distributed Compressor rendering/encoding, so through a dedicated gigabit ethernet or firewire infrastructure, you combine a few machines into a working super computer. Mac OS X Tiger has as it’s base a technology called Xgrid, which is a protocol for clustering machines together out of the box.

The secret to success is the gigabit ethernet connection running at 1 Gbps or 128 MB/s. so now in the new computing model, the CPU comes second to the network connection. In a few years 10 gigabit will be standard, passing 2 Gbps or 4 Gbps fibre channel.

So now that you can grid the machine together, how about storage? Apple has an Xsan solution. Xsan costs just below $1500 a workstation to get the computers to share storage ($999 Xsan seat license, $499 fibre channel PCI-X card). A much more elegant and economical solution, that works on panther 10.3.5 and above is iSCSI.

you remember SCSI? all macs had it before ATA. Storage engineers never gave up on SCSI, and are reintroducing the SCSI protocols, but over gigabit ethernet! On a more modern mac, you already have the port, or can easily get a $20 network PCI card (recommended approach to separate the storage network from the IP network). The beauty of iSCSI it can be entirely software based, so yes you get a performance hit, but imagine sharing all your hard drive on a small gigabit network using software SAN. This is revolutionary. Current vendors that support the Mac are ATTO technology and Studio Network Solutions. These companies are just the beginning to a wonderful marriage of storage, grid computing, and the Mac.

apple Xserve G5 cluster nodes

Almost since the beginning of desktop computing, the ability to share has been essential. Flash forward 30 years, and not only are computers networked, behold the pervasiveness of the internet to every workstation and laptop, but soon every computer will have shared storage. The simplest form of sharing would be networked attached storage (NAS), where you use built in networking protocols (TCP/IP, SAMBA, NFS, AppleTalk, etc.) to mount a remote volume over the internet or over a local area network (LAN) to a client system. You can now parcel files, using the file sharing aspects of the operating system.

A more robust system in the NAS space, uses an intelligent controller, or server (Mac OS X Server, NAS head, etc.) to deliver storage connectivity.

Companies like NetApp and BlueArc have mastered the front end of the storage array, and allow on the fly configuration, modeling, and allocation of storage resources as the needs of the enterprise change. Certain applications, like databases, require block level access to storage devices, as if they were directly attached to an individual computer. Application performance may suffer if the program is looking for block level access, but only sees NAS, however, in general, NAS is fast and is a completely viable storage platform.

Be it a NAS environment or a storage area network (SAN), most likely SAN is the storage subsystem architecture anyway. Currently there are three ways to attach a SAN to a workstation or workgroup:

Fibre Channel
Gigabit Ethernet, GbE (iSCSI)
IEEE 1394a or 1394b (FireWire)

Each methodology has is benefits and pitfalls, but all offer rugged access to shared storage resources. With a shared storage solution, the workstation can boot from the SAN, share files and applications (if the software licensing agreement allows it), and make the backup and restore aspect of data management easier.

Xserve RAID SAN