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Introduced at NAB 2007, the new AG-HPX500 received a number of awards starting with Broadcast Engineering and Digital Content Producer’s Pick Hits. TV Technology also honored it with its Star Award, and customers responded in droves around this camera for 4 days. Buyers consistently remark how well balanced it felt and how light it was.
Customers have been asking for a mid-priced camera with these 5 key features:
• Use true production quality interchangeable lenses
• A camera that has 2/3” CCDs so that better low light performance and latitude can be obtained.
• HD-SDI output from the camera
• Tape-less, solid state reliability and more P2 slots so they can extend their record time
• 4 individual audio inputs that are controllable
This camera can do all of the above...and MORE.
Capitalizing on the menu structure and the ease of use that the AG-HVX200 offers, this camera does virtually everything that the HVX200 does and then it does more.
The AG-HPX500 is able to switch between 50-60Hz, making it more flexible in the rental market and it is the first camera 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.
Starting with the fact that it utilizes 2/3” interchangeable lenses, this camera uses 3 progressive 620,000 2/3” CCDs that offer low light performance while keeping the price of this HD camera affordable. The HD picture, the same as it is done with the HVX200, is captured using 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 manufactured.
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. The function can not to be turned on or off If the camera sees the ability to have a handshake with the lens, it automatically does a lookup on the CAC table and sets the correction in motion. This technology is primarily taking place within the camera.
After testing, The Canon 20X lens results were very promising. Not as good as the CAC lenses but with care you can shoot with it and not have a huge problem. For the clearance price of this package and the level of zoom involved, this is worth every penny still. The CAC effect is invisible to the naked eye upon normal viewing. The effect becomes apparent only when the image is blown up to a movie screen size for example.
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 that were initially purchased for the purpose of shielding them from the forces of nature.
Located in the P2 Card area is the SD Card slot which is useful for loading scene files, uploading metadata to the recordings, and downloading firmware changes. This slot 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 at 16 Bits uncompressed recording. Control panel inside LCD area Front side of camera, 2 inputs Back end of camera with line input.
Of special interest is the placement of the the LCD. Notice that the LCD can be fully viewed even while the camera is on the camera person’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 can have the ultimate flexibility on this camera. A lot of the production community looks to the audio guy to monitor and control the audio section of the camera and now that is possible 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 all of your customers that wish to use the inexpensive 35mm adapters. It is a menu driven choice so it cannot happen
by accident. It does not record the image this way however so the task of flipping the image in the recording has
to happen in post much like it does now, but at least on set they will be able to frame their shot on the LCD with everything looking right-side-up.
The focus assist is different from the HVX and it finds its inspiration in the HPX2000. It is in the form of a
Histogram that displays in the upper right hand corner of the viewfinder and LCD. It is turned on with a button
and it stays on until you turn it off. Take a look at the two displays below, the histogram is on in both. See that
the picture on the left is out of focus and the detail shown on the histogram is minimal. Looking at the screen on
the right shows that the screen looks in focus and the histogram has a lot of detail. This is the easiest focus
assist to use that we have seen, it makes it virtually easy to focus the camera on a standard def LCD. A simple
turn on the focus ring can quickly confirm your focus.
The camera features almost every conceivable input, including HD-SDI. Serial Digital Interface (SDI) allows users to output and view digital video without any digital to analog conversion. This can be used for both recording and display purposes, providing the highest quality signal possible.
Please note that the camcorder comes standard with a viewfinder, the AG-VF11. This VF’s CRT is a 4:3 CRT and is similar in quality to the AJVF15, but the construction is different. You can mount the AJ-VF15 and VF20 on this camera, but keep in mind that there is no way for this camera to ship without its standard viewfinder.
The P2 card stores large amounts of video and audio data in MXF-format files. This solid state memory is free of tape related problems such as drop-outs. It provides superior resistance to impact, vibration, and temperature changes. And it is impossible to over-write important data. Unlike tape there is no need to fast-forward or rewind to reach selected points of video. The user selects a thumbnail image and the video clip can be viewed right away. Similarly once the record button is pressed recording starts immediately.
And of course this camera, with its variable frame rate capability and full progressive capture, will prove its strength in resolution and quality regardless of frame rate, unlike some of its competitors which lose resolution at higher than 30 frame video rates.
ITEM INCLUDES:
• 20x Canon Non-CAC Lens (KJ20x8.5B KRS)
• 4 16GB P2 Cards (AJ-P2C016RG)
• Tripod Adapter Plate (SHAN-TM700)
SPECS
Signal System
of Camcorder |
1080/60i,
30p, 24p
1080/50i, 25p
720/60p, 30p, 24p
720/50p, 25p
720pN Variable Frame Rates
60 Hz mode: 12, 18, 20, 22, 24, 26, 30, 32, 36, 48, 60 fps
50 Hz mode: 12, 18, 20, 23, 25, 27, 30, 32, 37, 48, 50 fps
NTSC: 480/60i, 30p, 24p
PAL: 576/50i, 25p |
Imaging Device |
2/3"
3CCD |
Lens / Lens mount |
KJ20x8.5B
KRS Canon 20x Non-CAC Lens /
2/3" Bayonet Type
|
Signal-to-Noise
Ratio |
Not
Specified By Panasonic |
Horizontal Resolution |
1080
Lines |
Sensitivity |
F10
(Typical) at 2000 lux |
Minimum Illumination |
Not
Specified By Panasonic |
Vertical Smear |
Not
Specified By Panasonic |
Built-in Filters |
ND:
Clear, 1/4, 1/16, 1/64 |
LCD Monitor |
3.5" |
Viewfinder |
1.5"
CRT B/W, NTSC/PAL Switchable |
Scan Matching |
Yes
Different Ranges for Different Record Modes |
Memory Card Slot |
SD
Memory Cards for Scene-File Sharing
4 P2 Card Slots for Video |
Shutter Speed
(Preset) |
60i/60p mode: 1/60
(OFF), 1/100, 1/120, 1/250, 1/500, 1/1000, 1/2000 sec.
30p mode: 1/30(OFF), 1/50, 1/60, 1/120, 1/250, 1/500, 1/1000 sec.
24p/24pA mode: 1/24(OFF), 1/50, 1/60,1/120,1/250,1/500,1/1000 sec.
50i/50p mode: 1/50 (OFF), 1/60, 1/120, 1/250, 1/500, 1/1000, 1/2000 sec.
25p mode: 1/25(OFF), 1/50, 1/60, 1/120, 1/250, 1/500, 1/1000 sec. |
| Shutter Speet (Variable) |
60i mode: 1/60.0 to 1/249.8 30p
mode: 1/30.0 to 1/249.8
24p/24pA mode: 1/24.0 to 1/249.8
50i/50p mode: 1/50.0 to 1/249.8 25p mode: 1/25.0 to 1/249.8 |
| Shutter Speet (Slow) |
60i/60p mode: 1/15, 1/30 30p mode:
1/15
24p/24pA mode: 1/12 (720p mode only)
50i/50p mode: 1/12, 1/25 25p mode: 1/12 |
Gain Selection |
60i/60p/50i/50p mode:
0/+3/+6/+9/+12/+18 dB
30p/24p/24pA/25p mode: 0/+3/+6/+12dB
[Slow Shutter Mode, Gain fix (0dB)] |
Tape Format |
N/A |
Tape Speed |
N/A |
Signal-to-Noise
Ratio |
Not
Specified By Panasonic |
Maximum Recording
Time |
N/A |
| Audio |
|
Audio Dynamic
Range |
Not
Specified By Panasonic |
Audio Signal Format |
16
bit/48kHz Four Channels |
Audio Frequency
Response |
20Hz
to 20kHz |
Signal to Noise
Ratio |
Not
Specified By Panasonic |
Input and Output
Connectors |
Composite:
BNC (x1 Output)
Component: D4 Terminal (x1 Output)
SDI/HD-SDI: BNC (x1 Output)
Timecode: BNC (x1 Input, x1 Output)
FireWire: 6-Pin
DC Power: XLR (x1 Input, x1 Output)
Remote: 10-Pin
Lens: 12-Pin
EVF: 20-Pin
USB 2.0: 4-Pin (Type-B)
Microphone: XLRx2 (x1 Input)
Analog Audio: XLRx2 (x1 Input)
Line Out: Pin Jack
Headphone: 3.5mm Stereo Mini Jack |
Power Requirements |
12
VDC (11-17V) |
Power Consumption |
23W
(when 1.5" CRT viewfinder, 3.5" LCD monitor used) |
Operating Temperature |
32-104°F
(0-40°C) |
| Operating Humidity |
10% to 85%
(no condensation) |
Dimensions (WxHxD) |
5.6
x 10.4 x 12.6" (14 x 26.1 x 31.8 cm) excluding handle and prominent parts |
Weight |
8.4
lb (3.8 kg) excluding battery and accessories |
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