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Professional Video (Pro) Cameras and Camcorders Panasonic AG-HPX500 (P2)
MENU | Panasonic AG-HPX500 |
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Capitalizing on the menu structure and the ease of use that the AG-HVX200 offers, this camera does virtually everything that the HVX200 does but then it does more. The AG-HPX500 is able to switch between 50-60Hz, making it more flexible in the rental market and is the first in this price range to do this. The fact that it has so much in common with the HVX is also a first. Think about it; this is the first time the innovations of a smaller camcorder have been designed into a full-sized camera, maintaining menu structure and functionality. • 3 2/3” CCD Quality for increased performance in resolution, low light and dynamic range Starting with the fact that it utilizes 2/3” interchangeable lenses, this camera uses 3 620,000 2/3” CCDs that offer low light performance while keeping the price of this HD camera affordable. So how are we getting an HD picture out of this, same way we do it with the HVX200, Advanced Progressive Technology. Because this camera has a full 2/3” CCD, it will have better dynamic range than ½” CCDs and it will accept all of the industry standard 2/3” HD lenses that are currently in manufacture. There is however a reality when it comes to inexpensive HD lenses, and that is, Chroma aberrations are an inescapable reality with all lenses. Compensation techniques employed in high end lenses cannot be afforded in lower cost lenses and consequently the magnitude of their aberration will be slightly higher. Recognizing the importance of cost-effective camcorders and lenses, Panasonic Engineering and the two leading lens manufacturers, Canon and Fujinon, have collaborated in a technology called Chroma Aberration Correction. The dynamic of each lens is recognized by the camera and an algorithm is applied to the video signal to dynamically correct the aberrations before it is recorded. This means that the circumjacent (areas around the periphery) resolve the majority of the issue. Sounds like magic, but it is quite an amazing function. It does come at a small increase in price over the least expensive HD lenses but it is worth every penny.
This camera comes equipped with 4 P2 card slots and with that we mean extended record time! Using 16GB P2 Cards and working in DVCPRO HD at 720P/24PN means 160 minutes of recording, all wrapped around the beauty of P2, which is the ease of use, the speed of transfer, and the concept of no moving parts. Keep in mind what Stan Hooley, Director of the Iditarod said about the P2 cameras in Alaska, “The P2 encountered snow and ice storms with wind gusts up to 60 miles per hour, creating wind chills down to 60 below zero. Not one camera froze up. Not one camera failed to capture the shot along the 1,100 mile Iditarod Trail. These cameras did what no other camera has been able to accomplish along one of the most unforgiving trails on the face of the Earth.” And none of the cameras wore the Camera Polar gloves we purchased for the purpose. In this very same area is the SD Card slot which is useful for loading scene files, uploading metadata to the recordings, and downloading firmware changes. And it and the P2 cards are all well protected behind a latching sliding door. Another very useful feature on this camera is the four independent audio channels of audio. Levels can be set independently and can be isolated for checking. All inputs can be supplied +48 Volts Phantom power if desired. The rear channels can also take in line level inputs if desired. This is the first camera to sport 4 independent inputs. Of special interest is the placement of the the LCD. The LCD can be fully viewed even while the camera is on the cameraperson’s shoulder. The LCD is where the audio meters show up and so with the full use of the volume control knobs and the meter display you are going to show your production customer the ultimate flexibility on this camera. A lot of the production community looks to the audio guy to monitor and contorl the audio section of the camera and now that is possilbe with the placement of the LCD. The LCD works the same way as the HVX200 in that for the Thumbnail display it uses the full 4:3 nature of the LCD. When shooting 16:9, the data about the picture is placed in the black area to the top and bottom of the letter-boxed picture. The choices for the display are virtually the same in the camera as they are in the HVX200 camera. There is a key difference with the LCD however and that is its ability to have the image flip for those that wish to use the inexpensive 35mm adapters. It is a menu driven choice so it cannot happen by accident. This camera also works with the AJ-RC10 remote so that if you want to use it in a small studio configuration, this too is possible. The controls on the AJ-RC10 are limited to the functionality of the camera itself.
STANDARD ACCESSORIES OPTIONAL ACCESSORIES
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