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Den Lennie talks to Nigel Wilkes from Panasonic the format itself, it should be bought because of budget, sensitivity, size and everything else. So when the PX270 comes out in March 2014 you’ll be able to shoot exactly the same format as its bigger brother, the PX5000. So it’s the perfect companion camera. And where do you see this being used? Everything from news organisations who need something that’s smaller and they don’t want a shoulder camera out there in the front line, to documentaries, to Natural History, and even the guy at home who has a lot of budget and wants to get out there and shoot something. Den hosted a half-hour live show from our studio at IBC in Amsterdam where he talked to Nigel about the latest developments from Panasonic. You can find the full show on our website at http://broadcastshow.com/live Tell me what’s new at Panasonic O kay, when we talked last, we spoke about a new camera called the PX5000. That camera has been launched and we start to ship it at the end of October. This camera is very significant for us as it’s the next big step in our AVC-Intra story. We’ve also now taken P2 as a format to 200 megabits and as AVC-Ultra is now here we’re ready to go with it. But to add to it, we’ve also got things like AVC-LongG (or LongGOP as the industry knows it) so basically going from 6 megabit up to 50 megabit and everything in between. So that camera is out there and there’s lots of interest. But we’ve also launched its little brother the PX270. This new handheld has three 1/3-inch MOS blocks, AVCUltra offering 200meg So what does that mean in reality? We had 100 megabits which is pretty good, what is the significance of 200 megabits? It means now that we can start to diversify. Obviously you’re getting better quality, still running at HD resolution but you’re getting less compression onto the cards. We also now have Micro P2. We’ve talked about this at various shows and it looks like an SD card - but on the back it has a dual gold connection. With the PX270, you can either put it into the adapter or straight into the MicroP2 card slot. This allows us to record 200 megabits as well. The restriction we’ve had with SD cards is 50 megabit – we couldn’t do it. What we’re seeing now instead is a shrunk down P2 card. So it might look like an SD card but it’s the engine inside – which was always the case with P2. It looked like a PCMCIA card, but actually it was what was happening on the chip that made the difference. Exactly, our biggest thing has always been to supply the same format on every camera. Panasonic believe that you should never buy the camera because of 54 | TV-BAY MAGAZINE: ISSUE 82 OCTOBER 2013 You’ve got a big legacy with Natural History – that’s obviously something that’s very important to Panasonic. How is this camera going to benefit those kinds of guys? I think it’s taking them to the next step. They currently use PX250’s and allowing them to shoot less compressed obviously helps them because the footage that they gather is there for history – they use it for a lot of archive footage. So the quality is getting better. In Natural History - they might be out in the jungle somewhere, see a unique bird and it’s a one-time shot. So presumably, having the highest possible quality means there’s no compromise – it’s going to sit in the archive for a long time. One of the big things about it is sensitivity. There is a famous shot in Planet Earth where there is a black bird of paradise hopping around on the floor of the jungle. When he turns around and opens his wings up there is an electric blue strip that goes right the way through and they couldn’t capture it before because film wasn’t sensitive enough to do it. If you remember, with our VariCam the sensitivity was so high that they came away with footage that had never been caught.