Flip a Switch, Make a Movie - Indeed.
Written: Dec 27 '03 (Updated Dec 27 '03)
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Pros: 24p,30p & 60i shooting modes, Markable Focus and Zoom, Excellent Picture Control
Cons: Not native 16:9 CCD, No Interchangable Lenses
The Bottom Line: If you are looking to replicated the motion of film or just despise the look of raw interlaced video, this camera is for you.
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| jun123's Full Review: Panasonic AG-DVX100BP Camcorder |
Panasonic's latest effort in the Prosumer MiniDV camcorder range is the AG-DVX100 (soon to be replaced by the upgraded DVX100A), is nothing short of a milestone for low to zero budget filmmakers. While many cameras boast the same features, the DVX100 has its trump card - 24P. No other camera within this price range has this feature. In face, the next camera up that does, is Panasonic's own SDX900 - a $32,000 camera! I know some might be asking "What is 24P?"
Well the answer lies in the movies. That's right, the movies. Since practically the dawn of the motion picture, movies were filmed capturing 23.97 new images every second - in other words 23.97 frames per second. However, when television first arrived (NTSC), it displayed 30 new images at a time, but each image was split in to odd and even fields. This meant that every second, the human eye would see 60 interlaced fields per second. To understand what an interlaced field is, split the image up in to about 500 lines then number them.
Well what interlacing does is it displays the odd numbered lines, then the even numbere lines and keeps alternating. Because the alternating is so fast, your eye is tricked in to seeing an entire image. The opposite of interlaced would be Progressive. Unlike interlacing, progressive scan displays one whole image instead of alternating odd and even fields.
24P is basically telling us 2 things. The "24" is telling us the frame rate, 24 frames per second; Much like the 23.97 fps of film. And the "P" signifies that it is progressive. So all in all it tells us that the video
is recording 24 Progressive frames per second. This is advantageous to those who are looking for a look other than the "hyper-realistic" motion of NTSC video.
Specifically, the DVX100 has two modes of 24p. The first, 24P Normal records video at a 3:2 pulldown on recording and a 2:3:2:3 cadence upon capturing and mode gives the look of film telecined to video. It is, however, still technically 60i - this means you can edit this footage on any NLE (Non Linear Editing) Software that supports digital video. The second mode is 24P Advanced which uses a more complex 2:3:3:2 cadence. This mode requires the use of an NLE that supports 24p editing. The advantage of advanced mode is true 24 progressive frames per second. Aside from 24p modes, the DVX100 can also record in standard 60i - this helps when trying to match footage from other 60i cameras during a multiple camera shoot - As well as 30p which is
remarkably better than the "Frame Mode" found in Canon brand cameras (namely the XL-1s and GL-1&2).
The DVX100 sports a wide Leica Dicomar fixed lens system that delivers excellent performance. The build quality is high and there is little to no distinguishable barrel rolling that is usually very noticable in a lens this wide. While the built in lens is awesome, a feature that would have made this even better would be the interchangable lens system that currently only the Canon XL-1s has (for this price range.) The zoom range is a mere 10x with no digital zoom available. Personal preference, but I dispise digital zoom and disable it on my VX2000 anyway. The 10x is fairly short, so a telephoto converter would be necessary for those that require long range photography.
The Camera also features three 410,000-pixel, 1/3" CCD which deliver a crisp picture. In low light, the camera performs outstanding in 60i, rivaling the Sony PD-150 and VX2000. However, in the progressive modes, especially 24p, the camera, by design, does not feature gain. Not Ideal for run-and-gun shooting in the dark. For myself this is not a disadvantage, for as a wannabe indie filmmaker, a dark scene should be lit accordingly anyway.
Audio support is also excellent with two XLR inputs, independently selectable and controllable. They also feature phantom power - this lets you power your microphones from the camera's battery or power source. The more than worthy onboard microphone picks up audio very well with little to no distortion or tape mechanism noise. However, it does, in the quietest conditions, pick up the servo noise from the zoom. Though it is noticable, most of those who would notice, should be and would be using a good shotgun mic anyway.
Speaking of the Zoom, the camera features manual and servo operated zoom control. The Servo mode can be controlled by the index finger control on the right side of the camera or the handle bar control that is speed switchable with 3 settings that are customizable in the DVX100's menu. The manual mode, lets you freely adjust the zoom with the zoom ring, which is an actual ring - no one that spins around forever. This makes it easier to mark zoom distances and repeat them. However, one fault is that, while in manual mode, the zoom ring doesn't feel smooth. It has a small jarring effect that seems only appropriate for a Waynes World introduction - but that might be too much of a stretch. As for marking your zooms, on the LCD display, there is a number that displays the position of your current zoom. This makes it even easier to mark. The focus ring on the camera, unlike the zoom ring, is not a true focus ring - it's more akin to that of the PD-150 as it spins on forever. However, like the zoom, on the LCD there is a number from 1 to 99 that indicates where your focus is. This makes it very easy to mark, repeat and rack focus.
Other hardware accesible features are two ND (Neutral Density) filters. These help to adjust the lens to certain lighting conditions. For example, on a very bright day, with no ND, you might get a very over exposed picture, even at low exposure. Simply switch the camera to ND 1/8 and it will open a larger range of light and dark to help expose correctly. The camera also asists the user and will flash 1/8, 1/64 or off on the screen to tell the user what it recommends to use at that current moment. Another way to help expose properly is the Zebra feature which places diagonal patterns on areas that are blown out or over exposed.
Also on the camera's outer panel are two user-definable buttons that allow the user to customize the camera. You can set these buttons to access features from the menu directly. Some that are available are color bars, fade effects, and other options.
White balancing on the camera is exceptional. Most cameras in this range only offer presets for different situations, then give a limited "fine tuning" option to do minor red and blue shifts. The Panasonic, however has an automatic white balance feature. To white balance, simply, under the current lighting conditions you want to white balance, hold a white card/paper in front of the camera and zoom in to fill the frame as much as possible, and hit the white balance button. Instantly, the camera shifts the color and the white card becomes white. This also adds artisitc elements - try white balancing to cards of different colors.
The LCD is quire large 3.5" and sharp. Panasonic did a very good job going with a larger screen as so much information can be displayed on it - Zoom and Focus readings, Audio peak levels, Time Code, Tape length and Battery ife - all these would be difficult to fit on the 2.5" of the PD-150. The EVF leaves much to be desired though. While the eyecup is very large and comfortable, even if you wear glasses, the LCD inside is very dull and difficult to use for focusing.
On the rear of the camera is the Scene File dial. Scene Files are basically saved presets of recording settings. This is where you select your recording mode and can adjust the look of the picture with advanced controls. The camera includes many options to tweak the color levels, gamma (contrast), sharpness, and even skin tone detail. This is the power of this camera. The level of control that is found here is no where to be found in this price range.
In my personal use, this is the best camera I have ever owned. It is the most versatile camcorder on the market in its pricerange and looks as if it will only be matched by its successor, the DVX100A (which will cost nearly $1,000USD more!)
Pros: 24p,30p & 60i shooting modes, Markable Focus and Zoom, Excellent Picture Control
Cons: Not native 16:9 CCD, No Interchangable Lenses
Recommended:
Yes
Amount Paid (US$): 3200
Recommended for: Professional Videographers - Broadcast Quality Videos
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Epinions.com ID:
jun123
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Reviews written: 16
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