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Review: Panasonic AG-HPX170

Nov 1, 2008 12:00 PM, By Barry Braverman

A compelling entry-level P2 camera that can fill a vital role on almost any job.

As a second (or third) camera

For broadcasters used to high-end camcorders, the usefulness of the HPX170 may not be obvious, even though the camera can provide enormous functionality and enable shots that might not otherwise be possible. Shooters can use the camera for time-lapse and single-frame animation, stylized fast- or slow-motion scenes with a streaking shutter, or extreme close-ups right up to the front element of the lens. I like the latter capability a lot, and I use it often to provide unusual perspectives that are not possible with a traditional full-size ENG camcorder.

Likewise, in the case of dangerous duty: If a camera needs to be placed outside the door of a moving train, for example, the little HPX offers itself up to the peril a lot more readily than does a larger, more costly camcorder.

There are times, of course, when we require the most inconspicuous professional camera available, and the HPX170 fits the bill. The camera is a pound and half lighter and more compact than the HVX200A, which is hardly a behemoth. In my mind, the beauty of the 170 is that it can go almost anywhere and not intimidate or rankle anyone. From time to time, all of us can use a tool like that.

As a data-wrangler

With the advent of tapeless workflows, the need arises to offload recorded camera files to an external storage device. This might take place late at night in a motel room or in a corner of a crowded set. There are several ways to accomplish the transfer from the P2 cards: via the PCMCIA slot (or DuelAdapter) directly into a computer; via FireWire or USB from the camera to a hard drive (in Host mode); or over FireWire/USB via a P2 Gear, P2 Drive, or P2 Mobile (in Device mode).

Many of us tend to use our project's primary camera to offload the P2 files. While this strategy is straightforward, it does tie up the camera, which may not always be advisable or practical. The HPX170 offers some advantages in this regard: It can serve as a B- or C-camera on a production by day, and then act as a data-transfer machine by night, conveniently mounting the recorded P2 volumes on the computer desktop. This functionality includes adding text markers and memos to clips and arranging select takes to be uploaded or output to an external device. Unfortunately, there is no copy function in the HPX170; such a capability would allow the shooter to transfer clips from one P2 card to another in the second slot. In this way, a shooter could simply hand off a single P2 card containing the condensed meltdown reel to a producer at the end of the day — a workflow many of us in the freelance world already employ using tape or disc-based media.

Conclusion

Many of us in the broadcast industry often think of the entry-level camcorder as a not-ready-for-primetime player. But this notion is no longer quite valid, as the performance and versatility of the HPX170 can well attest. Whether serving as a first, second, or even third camera on an assignment, the versatile HPX170 could prove to be exactly the right tool for principal shooting, for shooting special effects, or for wrangling data — however you define its role to be.

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Vitals

Company: Panasonic www.panasonic.com/broadcast

Product: AG-HPX170

Assets: Lightweight; compact; supports 4:2:2 recording in DVCPRO HD; permanent 13X Leica Dicomar lens provides excellent contrast with little obvious chromatic aberration.

Caveats: Menu-selection toggle is flimsy and imprecise; lack of copy function in thumbnail menu reduces usability of camera as data-management station.

Price: $5,695

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