LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Panasonic Makes 4K Handheld with AG-DVX200 Camcorder

COW Library : Cinematography : Kylee Peña : Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
CreativeCOW presents Panasonic Makes 4K Handheld with AG-DVX200 Camcorder -- Cinematography Editorial


CreativeCOW.net. All rights reserved.


Following the trend of 4K in small packages at this year's NAB Show, Panasonic unveiled a new handheld camcorder capable of shooting the same filmic images as cameras in its VariCam family. Adding the camera to a long roster of cameras used across the film, news, and indie parts of the industry, Panasonic looks to fill a need for putting big resolution in a small body for shooters that need just that.

AG-DVX200 4K Handheld Camcorder

Putting 4K in a compact and portable package, Panasonic's new DVX200 is a large-format MOS sensor, 4/3" camera that includes 4K/60p recording,a 13X optical zoom and a V-Log L gamma curve with 12 stops of latitude. It's a fixed lens, but covers the gamut in desired focal lengths – and as much noise shooters make about switching to different glass, Panasonic senior technologist Steve Mahrer told me the company is all about creating the right tool for the job. And the right tool for many indie, documentary, event or corporate shooters is a fixed lens with a easy controls for zoom and other functions.


AG-DVX200 4K Handheld Camcorder
AG-DVX200 4K Handheld Camcorder


The camera features a Leica Dicomar 4K F2.8~F4.5 zoom lens (4K/24p: 29.5 mm ~ 384.9 mm, HD: 28 mm ~ 365.3mm, 35 mm equivalent), 3G HD-SDI and HDMI 2.0 (4K) video outs, and will record 4K (4096 x 2160) / 24p, UHD (3840 x 2160) / HD (1920 x 1080) 60p / 50p / 30p / 25p / 24p in either MP4 / MOV file formats in two SD card slots. The zoom, focus and iris rings are similar to an interchangeable lens for familiarity.

The DVX200 has a lot in common with Panasonic's VariCam camera family when it comes to tonality and function, so the camera should also make a great choice for a B-camera on film shoots. It'll be available in Fall 2015 with a suggested list price under $5000.

4K VariCam 35

Also demonstrating the power of the VariCam's two native ISOs under extremely dark conditions, Panasonic pushed the limits of their 4K VariCam 35 at NAB, showcasing tests that featured imagery recorded with one foot-candle of light – basically like lighting your scene with a birthday candle. The camera has seen success over the last year, with its parallel recording features creating proxy media in the camera on set alongside 4K masters. This year, the company has added more functionality to the camera with a cable extension unit that will allow separation of the camera head from the recorder for additional mobility.


4K VariCam 35
4K VariCam 35


Mahrer told me that Panasonic's camera development is very workflow driven. With many options for news, cinema, and everything else, there are different cameras to fit different needs. "If I'm a news guy at 4AM going out to cover a fire, 4K isn't necessarily my priority." What is? Ease of use, a compact body, or even the ability for a station to do file-based wireless streaming from the field. "It's about understanding the application."




Comments

Re: Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
by Jaime Carreon
The Panasonic AG-DVX200 seems to have a ground hum from both inputs using mic or 48v phantom power when using Ac power but no hum when using the battery. Anyone else notice this problem?
Re: Article: Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
by Barry Green
If people have questions or want more details about the DVX200, feel free to ask here. I've got a preproduction model in hand, and have been exploring it extensively, so I may be able to answer any questions you have.
Re: Article: Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
by Aaron Star
Is the codec AVC-ultra? I read somewhere that the device only does 4K at 24P, does this mean they are able to record in ACV-ultra mode of 444 at 600Mbs?
Re: Article: Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
by Barry Green
AVC-Ultra is only offered on their P2 cameras. The DVX200 records to SDXC cards. It uses mpeg-4 encoding, at bitrates ranging from 100mbps (for UHD/24p) to 150 mbps (for UHD/60p). In HD, the bitrates range from 50mbps to 200mbps; the 200mbps is an intraframe-only recording mode.

When referencing "4K", people frequently refer to UHD as 4k, and that can confuse the issue. They're both 2160P, and UHD (or Quad HD) is 3840x2160, whereas the camera's 4k mode is 4096 x 2160. They're the same, except that 4K has an extra 128 pixels on each side of the frame so it delivers a slightly wider field of view and a wider aspect ratio.

If you're talking about specifically recording 4096 pixels wide, then yes, the DVX200 does it only in 24p - at 24.00P, not 23.976. It's DCI-compliant 4K.

In UHD (3840 x 2160) it does it at 23.976, 25.00, 29.97, 50.00, and 60.00 progressive frames per second.
Re: Article: Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
by Aaron Star
I was referring to 4096x2160-24p 12-bit 444 at 600Mbs which is Ultra's 24P(23.97) encoder. Would it be possible for you to upload to drop box a 10 sec clip in the 4096x2160-24p highest bitrate mode? I would like to see the media info on the clip and test it in Resolve and Vegas.

Pretty much seems like the camera is prosumer, and not the Indie filmmaker device they would have us believe. Even the old Z100 records at 2160p 10-bit 4K at 60p in an intra codec. Its shocking that Pana would release this camera at such low codec specs. It must have taken them a long time to get this device to market. Getting the Ultra codec specs in a low end device would have been killer.
Re: Article: Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
by Barry Green
Again, this camera is not a P2 camera, it doesn't use AVC-Ultra. It uses the same codecs as found in their prior HC-X1000 model.

It's not intended to be the ultimate filmmaker's camera, although it can be used for filmmaking purposes if one so desires. It's intended to be an all-purpose camera, a large-sensor version of something like their prior HPX250 or AC160 cameras. It's aimed at corporate films, news, sports, EPK's, documentaries, reality TV and all that type of workflow. It can be integrated into a VariCam job as a B-camera using VLOG-L, but it wouldn't be my primary choice for a strictly digital cinema camera. Consider also the price point; it's streeting at $4195. It's not a VariCam, instead it's intended to be the second incarnation of the original DVX100.
@Barry Green
by Barry Green
The first official footage shot with the DVX200 is out now; this was shot by the Panasonic factory.

・"A Day Of Life"
Vimeo(En) https://vimeo.com/138581052

・"A Day Of Life -Behind The Scenes" FHD
Vimeo(En)https://vimeo.com/138593056
@Barry Green
by Barry Green
Another official video has been posted; this one shows VLOG-L footage.

https://vimeo.com/140368754
@Barry Green
by Barry Green
Another official video has been posted; this one shows VLOG-L footage.

https://vimeo.com/140368754
Re: Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
by Mikael Manoukian
"First footage from the Panasonic DVX200" in RedShark News, 7/30/15

http://www.redsharknews.com/production/item/2767-first-footage-from-the-pan...

Short blurb, plus some footage from Sebastian Wiegärtner, DOP.

Looks compelling, can't wait to see the camera's actually release.

Cheers,

Mike M.
Ear of the Eye Productions
Re: Panasonic Makes 4K Handheld with AG-DVX200 Camcorder
by Mikael Manoukian
The details of the forthcoming AG-DVX200 are still very sparse. But, if Panasonic steps up to the plate and honors the footsteps of the legacy dvx100, then this new camera has tremendous potential.

Two big items I would encourage for inclusion in the technical specs of the AG-DVX200 would be 10 bit, 422 color processing recorded directly to a single SDHC/SDXC card slot and a USB 3.0 connection.

Look forward to seeing this when it is actually on sale in the later half of 2015.

Cheers,

Mike M.
Ear of the Eye Productions


Related Articles / Tutorials:
Cinematography
Shooting RED 8K for Danny Boyle's Yesterday

Shooting RED 8K for Danny Boyle's Yesterday

The magical romantic comedy Yesterday reunites cinematographer Christopher Ross BSC with director Danny Boyle to tell the story of a singer-songwriter who wakes up to discover that he's the only one in the world who remembers The Beatles. Christopher selected the RED HELIUM S35 8K sensor (with as many as 17 cameras rolling simultaneously in a single scene!) to capture a variety of looks as the story takes viewers from East Anglia to Los Angeles. With 10-15TB of footage coming in every day, this is also a workflow story, featuring DIT Thomas Patrick and the team at Mission Digital for dailies, and Goldcrest Post for online, VFX, conform, and grade.


Adrian Pennington
Cinematography
Spider-Man Far From Home Cinematographer Matthew Lloyd

Spider-Man Far From Home Cinematographer Matthew Lloyd

Matthew Lloyd, cinematographer for Spider-Man: Far From Home, takes us behind the scenes of the film and shares techniques for lighting and shooting massive visual effects scenes. Matthew and Go Creative Show host Ben Consoli, discuss working in Marvel’s Cinematic Universe, using pre-vis to prep for shots with VFX, creating Spider-Man’s holographic world, plus Matt’s camera and lens choice, his experience with commercial and fashion filmmaking, audience questions and so much more!


Ben Consoli
Cinematography
DJI Osmo Action Camera In-Depth: Taking on GoPro

DJI Osmo Action Camera In-Depth: Taking on GoPro

The DJI Osmo Action is DJI's first GoPro-like action camera. It shoots crisp 4K video at 60 FPS, and super slow motion at 240 FPS at 1080p, also with support for HDR and terrific RockSteady image stabilization. Especially interesting: TWO LCD screens to make it easy to see what you're shooting from every angle. VFX guru and filmmaker, Surfaced Studio's Tobias G puts the Osmo Action through its paces and tells all about what he likes and doesn't, with lots of sample footage for you to judge for yourself!


Tobias G
Cinematography
Stuart Dryburgh: DP for Men In Black International

Stuart Dryburgh: DP for Men In Black International

Stuart Dryburgh, cinematographer for Men In Black International, joins Go Creative Show host, Ben Consoli, to discuss creating the look for the film. Stuart talks about the challenges of working in an established franchise, filming in NYC in the snow, why Stuart prefers Arri Alexa cameras, his lighting and lens choices for the film, shooting action scenes, and more!


Ben Consoli
Cinematography
Capturing ProRes RAW

Capturing ProRes RAW

Apple ProRes RAW has lots of buzz, and can offer some great opportunities in both shooting and post, once you know how to capture it. Director Steve Pierce and DP Igor Kropotov explain why they love it, how to capture it on set, and what tools you can use.


Adorama TV
Cinematography
Small HD FOCUS 7 4K Monitor Hands On

Small HD FOCUS 7 4K Monitor Hands On

Here's a first look at the SmallHD FOCUS 7, a 7-inch, 4K monitor that packs significant production value in a moderate price. The monitor includes Small HD’s OS3 software, which gives users access to features such as pinch-to-zoom, waveform monitors, focus pulling, 3D LUTs, and more, in a build that's lightweight, durable, and retains mobility.

Tutorial
Adorama TV
Cinematography
GoPro HERO7 First Look

GoPro HERO7 First Look

The new GoPro HERO7 can do WHAT? Join Steven John Irby, co-owner and director of Street Dreams Magazine, for a look at the most advanced GoPro yet: HyperSmooth Stabilization, TimeWarp Video, live streaming, voice control, waterproof, and much more.


Adorama TV
Cinematography
Five Cinematic Drone Shots For You To Master

Five Cinematic Drone Shots For You To Master

If you tend to put your drone up in the air and then struggle with what to do next, or if you just randomly shoot around filling up your memory card, then this tutorial is for you. Here are 5 cinematic drone shots that, with a little practice, will take your aerial cinematography to the next level.

Tutorial
Adorama TV
Cinematography
Filming In Small Spaces

Filming In Small Spaces

"Penned" is a narrative series shot on location in New York, which means working in lots of small spaces. The team not only explores how these challenges call upon their highest level of creativity in the shortest amount of time, but also lay out how these challenges give some of the most creative results. The producers, director, and DP all share their tricks and advice including connecting the corners, putting light in Z space, having the lens closer to a foreground element, and utilizing high ceilings.

Tutorial
Adorama TV
Cinematography
In-Camera Video Transition Hacks

In-Camera Video Transition Hacks

When you think about video transitions, your mind might first turn to software, but as Surfaced Studio vfx guru Tobias Gleissenberger points out, some of the cleverest, most-effective, and easiest transitions to create are ones that take place primarily in your camera. A little pre-production planning and a little timeline finesse can work magic!

Tutorial
Tobias Gleissenberger
MORE
© 2019 CreativeCOW.net All Rights Reserved
[TOP]