This is a fabulous new camera that is capable of shooting DVCPRO, DVCPRO50 and the new DVCPRO P formats. This makes it extraordinarily flexible and able to deliver under a variety of circumstances. For the Event Videographer who has to shoot long format events the camera in its DVCPRO mode can deliver 66 minutes of video on a single cassette. For scenes where digital compositing is key, the camera's DVCPRO 50 mode provides 4:2:2 colorspace sampled at 8bits for rig removal chromakeying and other effects. For Videographers concerned about delivering imagery for DTV and upconverting to HDTV, there is the progressive 525 line mode, DVCPRO P.

Widescreen 16:9 Video

This camera is fully 16:9 switchable. If you use the AJ-VF20WP 2.0" wide viewfinder, the viewfinder automatically swithes to the appropiate mode. I can't get a clear answer from Panasonic materials, but it appears that DVCPRO P is intended as a widescreen format.

Color Sampling

The materials for the PD900WA state that it samples video at 10bits depth. While this is true, it only covers the camera section. The recorder section samples video at 8bit depth. This is the standard for all DVCPRO formats. If you plan on using this camera for high end composites you may want to record your image directly to disk from the video out. (At the show I saw SDI and IEEE connection options, but the specifications only mention standard 1.0v p-p 75Ohm BNC out.) The DVCPRO P image is sampled at 4:2:0, Y is at 27MHz Pb and Pr are at 13.5MHz. The DVCPRO 50 image is sampled Y 13.5MHz, Pb/Pr at 6.75MHz at 4:2:2. DVCPRO is a 50Mbps stream and DVCPRO and DVCPRO P are 25Mbps streams.

Lens and CCD

The camera uses a 2/3" M-FIT CCD and 2/3" lenses to match. The CCD's image 520,000 pixels each. They sample 10bits at 36MHz. The CCD's have gain from -3.0dB to +30dB. The image at +30dB is surprisingly clear for such a high level of gain. It is especially surprising considering the 60dB S/N ratio. (Digital Betacam has a far snowier picture at +30dB gain despite haveing a higher 63dB S/N ratio.)

So how nice is DVCPRO P ?

As you can see from the system bandwidth, DVCPRO P despite being progressively sampled at 60Hz has half the bandwidth of DVCPRO 50. So how nice can the image be with this new format ? Well, never underestimate the ability of progressive scanning to show image detail. After all if you go to an electronics store and ask a salesperson to tell you about HDTV or DTV and why you should buy it, they never say, "The rich color." They always talk about the dramatic picture details. DVCPRO P delivers these picture details. It certainly is not HD, but it looks very nice on HD monitors. It will look even better on consumer HDTV units. I expect that a format similiar to DVCPRO P may come to consumers as an HD camera once the HD format becomes more prevalent.

Upconverting to HD

The DVCPRO image is certainly very suitable for upconversion to HD, in terms of picture detail.It is very close to the 720p format. On the down side, even Panasonics DVCPRO HD recorders can not currently playback DVCPRO P tapes. (They do play back DVCPRO 50 and DVCPRO formats.)

Conclusions

This is a nice camera, and it gives the operator a great deal of flexibility for different operating requirements. If you do a high volume of event work mixed in with industrial work and work that will be used for digital compositing, this may be the camera for you. This camera is certainly not a panacea for your video toolbox. At this price point Betacam SX may be more attractive to those with a need for 4:2:2 video for digital compositing. Event Videographers should stick to DV, especially with full size DV offering over 4 hours of recording time. If you are converting to HD then consider DVCPRO HD. If you have a mix of these problems then this may be your camera.