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MillimeterShoot Review
Nov 1, 2002 12:00 PM, By Steve Mullen
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24p capabilities round out an already excellent DV camcorder.
 Besides gorgeous images and great sound, Panasonic’s AG-DVX100 also offers welcome ergonomic elements like a manual focus ring that works and feels right. Check out www.mindspring.com/~d-v-c to learn how to obtain an AG-DVX100 Users’ Guide. |
Panasonic's AG-DVX100 might be, to borrow a hook from a car advertisement, the world's first multiple-choice camcorder. Do you want to shoot: (A) high-quality video for traditional applications, (B) video that's optimal for streaming, (C) video that has a “filmic” look, (D) video you plan to transfer to 35mm film or to HD, or (E) all of the above?
For many shooters, whether professional or aspiring, the answer is (E). And if you so answered, the AG-DVX100 is the camcorder for you. Even if you answered (A), if you prefer a hand-held camera, the DVX100 is a near ideal camcorder. It achieves this status not simply by delivering gorgeous pictures and great sound, but because it features superb ergonomics.
The 4.2lb. camcorder is equipped with 10X Leica Dicomar “wide-angle” zoom lens (35mm equivalent: 32.5 to 325mm), f/1.6 (f = 4.5 to 45mm) with a 72mm filter size. The lens features multi-speed, servo-based zoom operation and manual zoom via a lens ring. (The lens has barrel markings and a control stalk.) The camera has optical image stabilization, and you can enable a 1/8 or 1/64 ND filter as needed.
In front of the zoom ring, there's a manual focus ring that feels right and works right. The DVX100 also offers auto-focus, although it does not function in any progressive mode. Though focus is via a servo, you can rack-focus because the bright, flip-out 3.5in. LCD (200,000 pixels) can digitally display the focus point (not in feet, however). By noting the read-out at close and far positions, a focus puller with good manual dexterity can dial in values as needed.
The AG-DVX100 features three IT (Interline Transfer) 1/3in., 410,000-pixel CCDs that employ green-offset technology to increase horizontal resolution. Panasonic claims these chips deliver more than 500 lines of horizontal resolution, a sensitivity of f/11 at 2000 lux, a low-light sensitivity of 3 lux at +18dB gain (50 IRE video output), and low vertical smear.
Although vertical smear was indeed low, I did note multi-faceted lens flare that sometimes added a beautiful filmic look. Other times, however, the flare was unwelcome. Also unwelcome was aliasing on moving diagonal edges.
Both Preset (3200 degrees K and 5600 degrees K) color balance and Auto White Balance (with Auto Black Balance) are available. The AWB and ATW (Auto Tracking White) modes are both reasonably accurate. However, I expect camera operators will — especially in the 24p modes — manually adjust white balance, zoom, focus, audio levels, and possibly iris. I would have much preferred the iris dial and the Auto Iris on/off switch be placed where Panasonic located the rarely used Auto/Manual Focus switch.
Audio channels can be switched to support stereo captured by the built-in mic. You can also individually switch each channel to Line or Mic XLR input (each with optional +48V phantom power). Individual audio-level controls are easily accessible, and signal levels may be viewed in both the LCD and viewfinder.
The pivoting 0.44in., LCD color viewfinder (180,000 pixels) features a wonderfully large eye coupler that was a delight to use. Unfortunately, while you can control viewfinder brightness, you can't dial down the oversaturated picture. Thankfully, you can make both adjustments for the flip-out LCD, so I came to trust it far more than the viewfinder.
The AG-DVX100's long list of features includes adjustable color temperature; selectable video gain (0dB, 3dB, 6dB, 9dB, 12dB); two user-assignable function buttons including +18dB gain; two Zebra settings; Syncro Scan; SMPTE color bars; and SMPTE timecode with User Bits. The DVX100 does not, however, offer a still photo mode — although at 30p, every frame can be used as a 720×480 still.
The camcorder bundle includes a 1.6Ah battery, AC adapter/charger, microphone holder, and IR remote control. While the battery did support an hour of recording, it is too lightweight — literally. The physically heavier 2.7Ah (or 5.4Ah) battery should improve on the camcorder's near-perfect front-to-back balance.
Because the AG-DVX100 has native 4:3 chips, Panasonic engineers had the option of supporting anamorphic 16:9 by implementing electronic anamorphic or offering an anamorphic lens (coming soon). As most NLEs support anamorphic 16:9, going this way would have made post simpler. Panasonic, however, made the correct design decision in providing a non-anamorphic letterbox 16:9 mode. Many buyers of this camera will use it to create widescreen filmic video that will be presented in 4:3. These, of course, will be letterboxed productions. Beginning with letterboxed material eliminates the need to create the letterbox in post.
The AG-DVX100 buyer whose goal is 35mm film or HDTV production is aware that a 1.78:1 (16:9), 1.85:1, or 2.35:1 release requires a digital upscale after post using a very expensive transcoder. These upconverters can work with either full-frame or letterboxed video. Thus you have two shooting options. Shoot letterboxed 4:3 and release in both letterbox 4:3 plus widescreen 35mm film or 16:9 HD. Alternately, shoot full-frame 4:3 — protecting for widescreen — and release in both full-frame 4:3 plus widescreen film or HD. (See “Walking the Line …” in the January 2001 issue of Video Systems.)
Using the DVX100's menu system — with its frustrating menu joystick — you can select among three color-matrix settings (NORM, FLOUrescent, and CINE-LIKE) and four gamma settings (NORM, HIGH, LOW, and CINE-LIKE). The FLOUrescent setting slightly increases red, while the CINE-LIKE setting significantly reduces blue. Generally, 24p modes will be shot with the CINE-LIKE matrix, while 60i and 30p will be shot with NORMAL matrix. If you prefer a warmer picture, feel free to use the CINE-LIKE matrix in any mode. And, of course, FLOUrescent can be used in any of the progressive modes.
The chart on page 36 shows all four AG-DVX100 gamma curves.
The CINE-LIKE curve, in comparison to the NORMAL, HIGH, and LOW curves, attempts to preserve shadows and highlights by slightly elevating shadow signal level while slightly attenuating highlight signal level. Try experimenting with CINE-LIKE gamma in 60i and 30p modes.
The AG-DVX100 has a six-memory Scene File that contains factory settings that you can use. It can also store settings you create from the DVX100's menu system.
While these settings provide a good starting point, don't “dial and shoot.” The advantage of an advanced camera with menu settings is you can create the look you want. (For in-depth coverage of the DVX100's menu system, see “Going Pro” in the October 2002 issue of Video Systems.)
Please read “Progressive: What You Need to Know” in the August 2002 Video Systems before proceeding. Everything that follows assumes you understand progressive scanning. The PROGRESSIVE menu item allows you to select one of four shooting modes: OFF (60i), 30P, 24P, and 24P(ADV).
Shooting in 30P mode offers video with no interlace artifacts, no pulldown, and thus no judder frames — so no editing issues. While intended for multimedia, it can also be used with the CINE-LIKE gamma and matrix for a filmic look.
The 2:3:2:3 pulldown used in 24P mode provides the same “judder” as is found when film is transferred to NTSC video. Use 24P when you want video with a traditional filmic look. When you plan a transfer to film or HD, do not use 24P.
The 24P(ADV) mode should be used only when you plan to transfer to film or HD. The 2:3:3:2 pulldown is designed for NLEs that can capture “2:3:3:2 video” via FireWire and then edit at 23.98fps. (These include Final Cut Pro and In-Sync's Blade 2.) See the chart on page 37.
Your 24P(ADV) production can be encoded to MPEG-2 for a DVD; recorded by a 24p VTR; or recorded by NTSC, 1080i60, and 720p60 VTRs after a 2:3 pulldown has been applied. (Reverse pulldown will recover the 24p video during the transfer to film.)
For those who have been shooting with Panasonic's AJ-HDC27 Varicam, the 24P and 24P(ADV) modes function a bit like the Varicam's Tele Gamma (V Rec) and Cine Gamma (F Rec) functions. V Rec is used when the final content will be viewed on a television. F Rec is used when the final content will be released on 35mm film.
Productions that will be shown on a large screen, whether from a video or film projector, should avoid “bleached-out” highlights. The expensive 2/3in. CCDs used in HD cameras, along with these camcorders' “wide-word” DSP — that includes sophisticated gamma functions — offer greater light latitude than some 35mm film stock.
Unfortunately, the AG-DVX100's 1/3in. chips cannot provide this latitude. Panasonic's solution? Exactly what shooters of low-latitude “reversal” film have always done: slightly underexpose. Panasonic recommends an A. IRIS LEVEL menu setting of -3 when using 24P or 24P(ADV) mode — even though it results in a full stop underexposure. (Each unit is a 1/3-stop exposure bias and the function, of course, works only in Auto Exposure mode.)
Panasonic also recommends setting MASTER PED (minimum black level) to -5, which further darkens dark gray. These Panasonic settings yield an underexposed image with little shadow detail. For those shooting 24p who want this look, these images will be satisfactory. I discovered that 24p, 4:3 video projected (without sound) on a 6ft. screen looked a lot like Kodachrome 16mm film. (Unfortunately, without the grain that gives film its wonderful texture.)
However, those shooting widescreen 24p may want the look of a more modern film stock. And those shooting 24P(ADV) video that will be transferred to film stock or HD might not find Panasonic's recommendations at all appropriate. For these folks, the solution is to strictly manage illumination in order to control scene contrast. Management may also involve adding illumination because only 0dB gain is available in any progressive mode. With effective light management, exposure bias can be reduced — or even eliminated. With a zero bias, you can turn off the AUTO IRIS system and use manual exposure. Conversely, if an iris bias continues to be required, use the DVX100's accurate AUTO IRIS. Then, after using AUTO EXPOSURE to establish the aperture, turn it off to lock exposure during the shot.
In 24P mode, adjust MASTER PED between zero and -5 to alter the contrast of your simulated film. Also, adjust DETAIL to determine the softness of your filmic look. Panasonic recommends setting V DETAIL FREQ to THICK so that CCD row-pair summation is used. This lowers vertical resolution to about 360 lines, preventing “line twitter” when 24p video is shown on interlace monitors.
When shooting 24P(ADV) for transfer to film or HD, the correct setting of MASTER PED and V DETAIL FREQ depends on the target media and the transfer process. With V DETAIL FREQ set, as recommended, to THIN to obtain 480 lines of vertical resolution, the active image will have 360 lines of vertical resolution if letterbox mode is enabled. This letterboxed image, therefore, has a vertical resolution equivalent to that of a full 4:3 image captured by interlace scanning — and so is perfect for transfer to 35mm film. The chart above provides a guide to Scene File settings.
The AG-DVX100 is clearly a major advance in under-$5,000 camcorder technology. The camcorder challenges a shooter to extend his expertise by learning more of the craft of filmmaking.
Contributing editor Steve Mullen is owner of Digital Video Consulting, which provides consulting and conducts seminars on digital video technology. Mullen can be reached at d-v-c@mindspring.com.
For more on the Panasonic AG-DVX100, see the article on page 21 of this issue.
BOTTOM LINE
Company: Panasonic, Los Angeles
(323) 436-3500
www.panasonic.com/broadcast
Product: AG-DVX100 camcorder
Assets: Excellent ergonomics; equipped with 10X Leica Dicomar “wide-angle” zoom lens; four shooting modes to serve the needs of any DV project; Scene File stores six different camera settings; outstanding image quality.
Demographic: See opening paragraph.
Price: $3,795
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