Panasonic Broadcast

AG-HVX200A Menu Information

Using the setup menus

Use the setup menus to change the settings to suit the scenes you are shooting or what you are recording. Operation buttons MENU button

MENU SET

3 Press the

(or items. Example:

) button to display the

4 Use the

Using the menus
If the thumbnail menu is displayed, press the AUDIO/THUMBNAIL button to release the display. (Page 67) The menu items indicated in the blue characters cannot be used.
and buttons to move to the option that you want to set. Example:
1 When the unit is in other than playback or

5 Press the

recording mode, press the MENU button. The following is displayed on the viewfinder and LCD screen. CAMERA mode (Example)
button to make the setting. To change a number, use the and buttons to change the setting value. Example:
(Continued on the next page)

2 Press

, to highlight the function you want to change.

MCR/VCR mode (Example)

Using the setup menus (continued)
6 To change other settings, repeat steps 4 and
5. When you finish, press the MENU button to return to the function screen.
7 To change other functions, repeat steps 2 to
5. When you exit the menu mode, press the MENU button again to return to the normal screen.
Initializing the menu settings
The menu settings contain both the user file settings and the scene file settings. You can initialize them separately. To initialize the user file (i.e. all the settings other than the scene file settings) Select INITIAL in USER FILE of the OTHER FUNCTIONS screen. The current menu settings of user file will return to the factory settings. To initialize the scene file From the 6 scene files, select the one you want to initialize with the scene dial. Then in the SCENE FILE screen, SAVE/INIT, select INITIAL. The settings for only the selected scene file are returned to the factory settings. This does not effect the other scene files.

Setup menu structure

Camera mode menu

P2 TAPE

indicates the available setting in P2 mode only or TAPE mode only.

CAMERA MENU SCENE FILE

(Pages 101 - 103)

CAMERA SETUP

(Page 103)

SW MODE

ASPECT CONV SETUP(P2) P2 SETUP(TAPE) TAPE MID GAIN HIGH GAIN ATW HANDLE ZOOM IRIS DIAL USER1 USER2 USER3 A.IRIS AGC ATW AF

(Pages 104 and 105)

AUTO SW

(Page 106)

RECORDING SETUP
OPERATION TYPE FRAME RATE P2 SYNCRO SCAN DETAIL LEVEL V DETAIL LEVEL DETAIL CORING CHROMA LEVEL CHROMA PHASE COLOR TEMP MASTER PED A.IRIS LEVEL NEWS GAMMA GAMMA KNEE MATRIX SKIN TONE DTL V DETAIL FREQ NAME EDIT SAVE/INIT REC FORMAT(P2) P2 REC FORMAT(TAPE) TAPE 480i REC MODE P2 REC FUNCTION P2 ONE SHOT TIME P2 INTERVAL TIME P2 PREREC MODE P2 REC SPEED TAPE AUDIO REC TAPE MIC ALC MIC GAIN 1 MIC GAIN 2 25M REC CH SEL P2 TC MODE TCG FIRST REC TC TAPE TC PRESET UB MODE UB PRESET

(Pages 107 - 109)

AV IN/OUT SETUP

CMPNT OUT SEL P2 HP MODE

(Page 112)

DISPLAY SETUP

(Pages 113 and 114)
ZEBRA DETECT 1 ZEBRA DETECT 2 MARKER SAFETY ZONE VIDEO OUT OSD DATE/TIME LEVEL METER ZOOM FOCUS CARD/TAPE BATT OTHER DISPLAY LCD BACKLIGHT LCD SET EVF SET SELF SHOOT EVF MODE DISPLAY ASPECT EVF COLOR SCENE FILE P2 USER FILE P2 SD CARD FORMAT P2

CARD FUNCTIONS

OTHER FUNCTIONS

(Pages 115 - 118)

OPTION MENU

(Page 119)

1394 STATUS 1394 CONFIG P2

(Page 115)

REMOTE 1394 CONTROL 1394 CMD SEL END SEARCH TAPE PC MODE P2 REC LAMP ACCESS LED P2 BEEP SOUND CLOCK SET TIME ZONE POWER SAVE USER FILE HOUR METER TAPE OPERATION P2
Setup menu structure (continued)
MCR/VCR (playback and external input) mode menu
MCR/VCR MENU RECORDING SETUP REC SPEED TAPE AUDIO REC TAPE 1394 TC REGEN TC MODE TCG FIRST REC TC TAPE TC PRESET 1394 UB REGEN UB MODE UB PRESET 1394 IN PRESET
32K(12bit) AUDIO TAPE PLAYBACK FUNCTIONS AUDIO OUT (P2) P2 AUDIO OUT (TAPE) TAPE

(Pages 110 and 111)

CMPNT OUT SEL A.DUB INPUT TAPE 1394 OUT TAPE
VIDEO OUT OSD DATE/TIME LEVEL METER CARD/TAPE BATT OTHER DISPLAY CAMERA DATA LCD BACKLIGHT LCD SET EVF SET EVF MODE DISPLAY ASPECT EVF COLOR REMOTE END SEARCH TAPE PC MODE P2 ACCESS LED P2 CLOCK SET TIME ZONE USER FILE HOUR METER TAPE OPERATION PSTATUS 1394 CONFIG

Dubbing mode menu

This screen appears only in the dubbing mode.
DUBBING MENU RECORDING SETUP REC SPEED TAPE TC MODE TCG FIRST REC TC TAPE TC PRESET UB MODE UB PRESET

(Pages 107-109)

DUBBING SETUP
FORMAT SEL PULLDOWN SEL SETUP(TAPE)

Setup menu list

SCENE FILE screen

Item OPERATION TYPE

Display mode

Description of settings

(Camera) Switches the shutter and frame rate operation to the video type or film type. VIDEO CAM: SYNCRO SCAN is displayed using 1/n units. FILM CAM: SYNCRO SCAN is displayed as an angle. (Camera) Selects the shooting interval and exposure time when 720P and FILM CAM is selected. The DEFAULT value is dependent on the frame rate of the recording format. DEFAULT, 12, 18, 20, 22, 24, 26, 30, 32, 36, 48, 60 FRAME (Camera) Adjusts the synchro scan shutter speed used for shooting images on a TV screen, etc. or to speed up the value changing. Press and hold the operation button to When VIDEO CAM is selected as the OPERATION TYPE option setting: 60P/60i: 1/60.0. 1/249.8 30P/30PN: 1/30.0. 1/48.0. 1/249.8 24P/24PA/24PN: 1/24.0. 1/48.0. 1/249.8 When FILM CAM is selected as the OPERATION TYPE option setting: The shutter speed is displayed as an angle such as 180.0d. 10.0 deg. 180.0 deg. 350.0 deg (the angle can be changed in increments of 0.5 degrees) (Camera) Adjusts the level of the image outline correction (in the horizontal and vertical directions). -7.0.+7 (Camera) Adjusts the level of outline correction in the vertical direction. -7.0.+7 (Camera) Adjusts the level of noise reduction of the detail signal. -2.0.+7 Set to for a clearer image. Noise increases slightly. Set to + to reduce noise. (Camera) Adjusts the chroma level. -7.0.+7 (Camera) Makes fine adjustments to the chroma phase. -7.0.+7 (Camera) Makes fine adjustments to the color temperature (after white balance adjustment). -7.0.+7

FRAME RATE

SYNCRO SCAN

DETAIL LEVEL

V DETAIL LEVEL

P2 P2 TAPE TAPE

DETAIL CORING

CHROMA LEVEL

P2 P2 P2 TAPE TAPE TAPE

CHROMA PHASE COLOR TEMP

P2 P2 P2

TAPE TAPE TAPE

A. IRIS LEVEL NEWS GAMMA
(Camera) Sets the desired AUTO IRIS level. -4.0.+4 (Camera) Selects the news gamma curve. ON OFF indicates the factory setting.

MASTER PED

(Camera) Adjusts the master pedestal (black level of the image) as the basis for images. -15.0.+15
Setup menu list (continued)
SCENE FILE screen (continued)

Item GAMMA

(Camera) Selects the gamma curves other than the news gamma curve. HD NORM: This gamma setting is suitable for HD shooting. LOW: Makes a mellow image using the gamma curve which has a gentle incline in low-brightness curve. The contrast sharpens. SD NORM: This is the normal video setting, carried over from the DVX100 series. HIGH: Expands the tone of dark parts and makes a brighter image using the gamma curve which has a sharp incline in low-brightness curve. The contrast softens. B.PRESS: Makes the contrast shaper than LOW. CINE-LIKE_D: Makes a cinema-like image. CINE-LIKE_V: Makes a cinema-like image with emphasized contrast. When you select CINE-LIKE gamma, we recommend to set the lens aperture lower than normal image level (approximately 1/2) to enjoy the full benefit of the function. (Camera) To avoid overexposure, select the compression level (knee point) of the high intensity video signals received through CCD. AUTO: Sets the level automatically according to the received signals. LOW: Low setting (Compression starts at approx. 80%.) MID: Medium setting (Compression starts at approx. 90%.) HIGH: High Setting (Compression starts at approx. 100%.) (Camera) Selects the MATRIX table suitable for the desired color expression during shooting. NORM: Suitable for shooting in the open air or under a halogen lamp. ENRICHED: Suitable for brighter colors than the NORM mode. FLUO: Suitable for shooting under fluorescent light indoors. CINE-LIKE: Suitable for cinema-like image. indicates the factory setting.

MATRIX

Item SKIN TONE DTL
(Camera) Sets the skin tone details. Select ON to reduce the skin tone details and soften the skin tone. ON OFF (Camera) Sets the vertical detail for shooting in 480i progressive mode. THIN: Makes the detail thin. MID: Makes the detail slightly thicker. THICK: Makes the detail thicker. When images were shot in the progressive mode in which the vertical detail is set as THIN or MID and are played on a monitoring television (60i interlace), you will see flickers caused on horizontal lines and almost horizontal oblique lines. When playing back images in the progressive mode or when editing images or performing other postprocessing, images with a higher resolution will be obtained with the THIN or MID setting than with the THICK setting. (Camera) Edits the name of the selected scene file you have selected with the scene file dial. (Camera) SAVE: Saves the changed scene file settings. The settings will not be saved if you exit the menu mode, switch to the MCR/ VCR mode or turn the camera off without selecting SAVE. INITIAL: The settings of the scene file selected with the scene file dial are returned to the factory settings.

V DETAIL FREQ

NAME EDIT

SAVE/INIT

CAMERA SETUP screen

Item ASPECT CONV

(Camera) Selects the aspect ratio of the image you record in 480i format. This item cannot be selected when the 1080i or 720P recording format is used. (Page 44) NORMAL LETTER BOX SQUEEZE (Camera) Switch the setup level of video signals in 480i format using a P2 card. 0%: Setup is switched to 0% for both the camera output and the recording. 7.5%A: Setup is switched to 7.5% for the camera output and 0% for the recording. (Camera) Switch the setup level of video signals in 480i format using a tape. 0%: Setup is switched to 0% for both the camera output and the recording. 7.5%: Setup is switched to 7.5% for both the camera output and the recording. indicates the factory setting.

SETUP (P2)

SETUP (TAPE)

SW MODE screen

Item MID GAIN

P2 P2 TAPE TAPE TAPE

(Camera) Sets the gain value assigned to the M position of the GAIN switch. 0dB, 3dB, 6dB, 9dB, 12dB (Camera) Sets the gain value assigned to the H position of the GAIN switch. 0dB, 3dB, 6dB, 9dB, 12dB (Camera) Sets the operation of the ATW (Auto Tracking White Balance) function assigned to the WHITE BAL switch. When the ATW function is set to the AUTO/MANUAL switch or USER button, the operation remains effective. Ach: Activates the ATW function when the WHITE BAL switch is set to A. Bch: Activates the ATW function when the WHITE BAL switch is set to B. PRST: Activates the ATW function when the WHITE BAL switch is set to PRST. OFF: Deactivates the ATW function. (Camera) Sets the zoom speed assigned to each setting position of the HANDLE ZOOM switch. L/OFF/H: Sets LOW (low speed)/OFF/HIGH (high speed) to the 1/2/3 position. (Zoom is disabled when set to OFF.) L/M/H: Sets LOW (low speed)/MID (medium speed)/HIGH (high speed) to the 1/2/3 position. L/OFF/M: Sets LOW (low speed)/OFF/MID (medium speed) to the 1/2/3 position. (Zoom is disabled when set to OFF.) (Camera) Sets the rotation direction and the aperture control of the IRIS dial. (In MANUAL IRIS mode) DOWN OPEN: The iris opens when the IRIS dial is turned downward. UP OPEN: The iris opens when the IRIS dial is turned upward. indicates the factory setting.

HIGH GAIN ATW

HANDLE ZOOM

IRIS DIAL

SW MODE screen (continued)

Item USER1

(Camera) Selects the function assigned to the USER1 button. REC CHECK: Performs Rec Check. SPOTLIGHT: Auto iris control for the spotlight ON/OFF BACKLIGHT: Auto iris control for the backlight compensation (Page 45) BLACKFADE: Blackfade (Page 45) WHITEFADE: Whitefade (Page 45) ATW: ATW function ON/OFF ATWLOCK: Fixes the white balance value when the button is pressed during ATW. Press again to perform ATW. GAIN: 18 dB: Press the button to set the gain value to 18 dB. This setting takes effect with the 60i and 60P recording formats only. It is not valid when the recording frame rate is less than 22 fps or when the slow shutter mode (1/15) is established. When the gain value is set to 18 dB or set from 18 dB to another value, the image can be disordered for a moment. If the unit is being used in the MANUAL mode or AUTO mode, set the AGC item on the AUTO SW screen of the setting menu to OFF to use this function. FOCUS RING: Selects the focus ring function (FOCUS or IRIS). The FOCUS RING is functional when the FOCUS switch is in AUTO mode. INDEX/MEMO: Text memo recording (P2 card)(Page 47)/Index recording (cassette tape) (Page 48) SLOT SEL (P2 card only): Selects one of the P2 card slots. (Page 47) SHOT MARK (P2 card only): Shot mark recording (Page 47) (Camera) Selects the function assigned to the USER2 button. The settings are the same as USER1 above. BACKLIGHT (Camera) Selects the function assigned to the USER3 button. The settings are the same as USER1 above. INDEX/MEMO indicates the factory setting.

AUTO SW screen

Item A.IRIS
(Camera) ON: Performs the auto iris control in auto mode. The IRIS button is deactivated. OFF: Deactivates the auto iris control in auto mode. This performs the iris control selected with the IRIS button. (Camera) Sets the Auto Gain Control when the ON is selected in A.IRIS. 6dB: Performs the Auto Gain Control (max. 6 dB) in auto mode. 12dB: Performs the Auto Gain Control (max. 12 dB) in auto mode. OFF: Does not perform the Auto Gain Control in auto mode. Initiates the control of the gain selected by the GAIN switch. (Camera) ON: Performs the ATW (Auto Tracing White Balance) function in auto mode. You cannot select ON/OFF of the ATW function with the WHITE BAL switch or the USER button when this is selected. However, if ATWLOCK is assigned to the USER button, you can set the white balance value with the USER button. OFF: Does not perform the white balance function in auto mode. This performs the white balance function selected with the WHITE BAL switch. (Camera) ON: Performs auto focusing in auto mode. You cannot use the FOCUS switch and PUSH AUTO button when this is selected. OFF: Does not perform auto focusing in auto mode.This performs the focusing selected with the FOCUS switch or PUSH AUTO button. indicates the factory setting.

RECORDING SETUP screen

Item REC FORMAT (P2)
(Camera) Selects the recording format for P2 card. 1080i/60i, 1080i/30P, 1080i/24P, 1080i/24PA, 720P/60P, 720P/30P, 720P/24P, 720P/30PN, 720P/24PN, 480i/60i, 480i/30P, 480i/24P, 480i/24PA (Camera) Selects the recording format for cassette tape. 480i/60i, 480i/30P, 480i/24P, 480i/24PA (Camera) Select the recording mode for a 480i recording format. DVCPRO50, DVCPRO, DV (Camera) Selects the special recording mode. (Pages 48 - 50) NORMAL, INTERVAL, ONE SHOT, LOOP (Camera) Selects the one-shot recording time. (Page 50) 1F, 2F, 4F, 8F, 16F, 1s (Camera) Selects the interval time for interval recording. (Page 49) 2F, 4F, 8F, 16F, 1s, 2s, 5s, 10s, 30s, 1m, 5m, 10m (Camera) Sets PRE RECORDING to ON or OFF. (Page 48) ON OFF (Camera) Selects the recording time mode. (VCR) SP: SP (standard) mode (DUB) LP: LP (long play) mode (Camera) Selects the audio recording mode for conversion to PCM audio. (VCR) 32K(12bit): 12bit/32kHz 48K(16bit): 16bit/48kHz (Camera) Sets mic level auto control to ON or OFF. (Page 54) ON OFF Set to ON to reduce distortion at high input levels. This setting does not change the audio signal recording level. Use the AUDIO control knob to adjust the audio signal recording level. (Camera) Sets the input level of the external microphone connected to the INPUT 1 terminal. (Page 53) -50dB -60dB (Camera) Sets the input level of the external microphone connected to the INPUT 2 terminal. (Page 53) -50dB -60dB (Camera) Selects the recording audio channel for DVCPRO25 and DV formats. (Page 53) 2CH, 4CH <Notes>

REC FORMAT (TAPE)

480i REC MODE

REC FUNCTION

ONE-SHOT TIME

INTERVAL TIME

PREREC MODE

REC SPEED

AUDIO REC

MIC ALC

MIC GAIN 1

MIC GAIN 2

25M REC CH SEL
Even when 4CH is selected as this items setting, the signals will be input to two channels (always CH1 and CH2) when there are two 1394 input channels. Similarly, even when 4CH is selected, the 1394 output signals will be delivered to two channels (always CH1 and CH2).
indicates the factory setting.
RECORDING SETUP screen (continued)

Item 1394 TC REGEN

Display mode (MCR/ VCR)
Description of settings Selects the time code used for recording the signal from equipment connected to the 1394 terminal. ON: Records using the time code of the signal input through the 1394 terminal. OFF: Records using the time code set in TC MODE/TCG/FIRST REC TC. If you select ON here, this has priority over the settings in TC MODE/TCG/ FIRST REC TC. If there is no input to the 1394 terminal, the camera follows the settings in TC MODE/TCG/FIRST REC TC. Selects the correction mode of the internal time code generator. DF: Uses the drop frame mode. NDF: Uses the non-drop frame mode. The non-drop frame mode will be used when you set recording frame rate of recording format to 24P, 24PA or 24PN.

TC MODE

(Camera) (MCR/ VCR) (DUB)
(Camera) Sets the mode in which you advance the time code. (MCR/ FREE RUN: VCR) The time code is advanced regardless of the operation mode. (DUB) Records in the dubbing mode in such a way that the time codes of the clips on the P2 card are carried over. User information is also carried over. When setting a frame rate other than 24P during operation with the 720P/24PN format or other than 30P during operation with the 720P/30PN format, the FREE RUN operation for the time code will not be performed, and the REC RUN operation will be performed instead. REC RUN: The time code is advanced only when recording. (Camera) Selects the time code to be recorded when you start recording. (VCR) REGEN: (DUB) Regenerates the time code on the tape to continue recording. PRESET: The time code on the tape is not regenerated. The value you set in TC PRESET is used as the initial value to record the time code. However, if you perform subsequent shooting, the time code will always be regenerated. (Camera) Sets the initial time code. This is activated when you select PRESET in FIRST (MCR/ REC TC. VCR) Set the frame value to 0 or a multiple of 5 when you set recording frame rate (DUB) of recording format to 24P, 24PA or 24PN. If any other value, the recorded time code will mis-match. indicates the factory setting.

FIRST REC TC

TC PRESET

Item 1394 UB REGEN

Description of settings Selects the user information used when recording the signals from equipment connected to the 1394 terminal. ON: Records using the user information of the signal input through the 1394 terminal. OFF: Records using the user information set in UB MODE. If you select ON here, this has priority over the setting in UB MODE. The user information is recorded only when the signal contains the user information. If there is no input to the 1394 terminal, the camera follows the UB MODE settings. Set the content for user information. USER: Records the information of user. TIME: Records the time at recording. DATE: Records the date at recording. TCG: Records the values of the time code generator. FRM. RATE: Records the frame rate information for frame conversion.

UB MODE

a:Checking information for user information b:Frame sequence No. 0 to 4 are displayed in the 24P/24P (ADV) mode. F is displayed in the 60i/30P mode. c:Frame rates Frame rate (60/30/24) I/P ID Conversion data Frame rate coefficient d:Recording management data Frame update information REC START/STOP information <Note> To play back a clip recorded with native recording To change 1394 output user information to frame rate information, change this setting to FRM.RATE and play back the clip. The user information displayed on the screen at this time is changed to frame rate information. UB PRESET
(Camera) Sets the user information. Select USER in UB MODE. (MCR/ VCR) (DUB) (MCR/ VCR) Synchronizes the internal TCG value with the TC of 1394 input when you press the TC SET button. ON: The synchronization mode is on. OFF: The synchronization mode is off. indicates the factory setting.

1394 IN PRESET

PLAYBACK FUNCTIONS screen

Item 32K(12bit) AUDIO

Display mode (VCR)
Description of settings Sets the audio to output as CH1 and CH2 signals when playing back a tape recorded in the 32K (12bit) audio mode. ST1: Selects the sound that was recorded during shooting. CH1 signals = CH1 track CH2 signals = CH2 track ST2: Selects the sound that was dubbed on the recording. CH1 signals = CH3 track CH2 signals = CH4 track MIX: Mixes the sound that was recorded in shooting and audio dubbing. CH1 signals = CH1 track + CH3 track CH2 signals = CH2 track + CH4 track <Note> When the sound is recorded in the 48K (16bit) audio mode, CH3 and CH4 do not exist so the following is always the case. CH1 signals = CH1 track CH2 signals = CH2 track Sets the audio signals to output from the AUDIO IN/OUT pin jack when the P2 card or the tape is played back. CH1 CH2: CH1 output = CH1 signals, CH2 output = CH2 signals CH1: CH1 output = CH1 signals, CH2 output = CH1 signals CH2: CH1 output = CH2 signals, CH2 output = CH2 signals CH3 CH4: (P2 card only) CH1 output = CH3 signals, CH2 output = CH4 signals CH3: (P2 card only) CH1 output = CH3 signals, CH2 output = CH3 signals CH4: (P2 card only) CH1 output = CH4 signals, CH2 output = CH4 signals indicates the factory setting.

AUDIO OUT (P2)

(MCR/ VCR)

AUDIO OUT (TAPE)

PLAYBACK FUNCTIONS screen (continued)
32K(12bit) AUDIO item/AUDIO OUT item settings and audio track signals output from the AUDIO IN/OUT jack TAPE Audio recording mode 32K(12bit) AUDIO setting ST1 32K (12bit) ST2 MIX 48K (16bit) AUDIO OUT setting CH1 CH2 CH1 CH2 CH1 CH2 CH1 CH2 CH1 CH2 CH1 CH2 AUDIO IN/OUT jack CH1 output CH1 CH1 CH2 CH3 CH3 CH4 CH1+CH3 CH1 CH1 CH2 AUDIO IN/OUT jack CH2 output CH2 CH1 CH2 CH4 CH3 CH4 CH2+CH4 CH2 CH1 CH2

DUBBING SETUP screen

Item FORMAT SEL Display mode (DUB) Description of settings Selects the format of the clips to be played back during dubbing. 1080i/60i, 1080i/30P, 1080i/24P, 1080i/24PA, 720P/60P, 720P/30P, 720P/24P, 720P/30PN, 720P/24PN Selects the pulldown method for 24PN (native format). 24P: The 24 fps images are converted into 60-field interlace signals by the 2:3 conversion system. 24PA: The 24 fps images are converted into 60-field interlace signals by the 2:3:3:2 advanced conversion system. Switch the setup level of video signals in 480i format for dubbing. 0%: Setup is switched to 0% for both the camera output and the recording. 7.5%: Setup is switched to 7.5% for both the camera output and the recording.

PULLDOWN SEL

AV IN/OUT SETUP screen

Item CMPNT OUT SEL

(Camera) Selects the type of component terminal. (MCR) 720P: Monitor which supports the D4 terminal 1080i: Monitor which supports the D3 terminal 480i: Monitor which supports the D1 terminal The signals recorded in the 720P format are cross-converted only when 1080i format signals are to be output. In all other cases, they are output without being converted. (Camera) Selects the sound heard through the headphones. LIVE: The sound which has been input from the microphone is output as is. This setting is selected when delays in the sound are annoying. RECORDING: The sound in the status which is to be recorded (the sound synchronized with the images) is output. (VCR) Selects the audio to be recorded for audio dubbing. (Page 81) MIC: This sets the input from the internal microphone, INPUT1 and INPUT2 connectors. A_IN: This sets the input from the AUDIO IN/OUT connector. Select ON to convert analog input signals into digital signals and output them from the 1394 terminal. ON OFF indicates the factory setting.

HP MODE

A. DUB INPUT

1394 OUT

DISPLAY SETUP screen

Item ZEBRA DETECT 1

(Camera) Selects the brightness level of the left-leaning zebra patterns on the screen. 50%, 55%, 60%, 65%, 70%, 75%, 80%, 85%, 90%, 95%, 100%, 105% (Camera) Selects the brightness level of the right-leaning zebra patterns on the screen. 50%, 55%, 60%, 65%, 70%, 75%, 80%, 85%, 90%, 95%, 100%, 105%, OFF <Note> The zebra patterns do not appear if you select OFF. (Camera) Select ON to display the marker. (Page 43) ON OFF To display the marker, press the ZEBRA button. (Camera) Sets SAFETY ZONE to ON or OFF. OFF , 90%, 4:3 (Camera) Select ON to output the information displayed on the screen together with the (MCR/ signals from the VIDEO IN/OUT jack. VCR) ON OFF <Notes> When a tape is used for recording, no on-screen displays (OSD) will be output while recording is underway even when this function has been set to ON. However, OSD will be output to the 1394 output during recording standby. If OSD is not required, set the function to OFF. If this option is set to ON when performing backup recording while a tape is used, the OSD will be output to the 1394 output at all times except when the unit is in the recording mode. Bear in mind that the OSD may be recorded inadvertently if backup recording is performed when a setting other than OFF is selected for the 1394 CONTROL option (page 115) on the OTHER FUNCTIONS screen. (Camera) Sets whether to display the date and time on the screen and whether to output (MCR/ from the VIDEO IN/OUT jack. VCR) OFF: The date and time are not displayed. TIME: The time is displayed. DATE: The date is displayed. TIME&DATE: The time and date are displayed. If you select any setting other than OFF, the date and/or time are included in the output signals regardless of the VIDEO OUT OSD setting. (The OFF setting can be selected also using the remote control. (Page 76)) (Camera) Select ON to display the audio level meter. (MCR/ ON OFF VCR) indicates the factory setting.

ZEBRA DETECT 2

MARKER

SAFETY ZONE

VIDEO OUT OSD

DATE/TIME

LEVEL METER
DISPLAY SETUP screen (continued)

Item ZOOM FOCUS

(Camera) Selects the unit of zoom and focus values. OFF, NUMBER, mm/feet, mm/m <Note> Use the mm/feet or mm/m display only as a general guideline since it is not entirely accurate. (Camera) Select ON to display the remaining card/tape and battery charge. (MCR/ ON OFF VCR) (Camera) Select how much information to display on the screen. (Page 96) (MCR/ OFF, PARTIAL, ALL VCR) (MCR/ VCR) Select ON to display the camera settings (such as image stabilizer, F-number, and gain value) during tape playback. ON OFF <Note> In the P2 mode, this item appears only when 480i REC MODE has been set to DV. (Page 107)

CARD/TAPE BATT

OTHER DISPLAY

CAMERA DATA

LCD BACKLIGHT
(Camera) Adjusts the backlight of the LCD monitor. Select HIGH for brighter backlight. (MCR/ HIGH NORMAL VCR) (Camera) Adjusts the display level of the images on the LCD monitor. (Page 23) (MCR/ LCD COLOR LEVEL VCR) LCD BRIGHTNESS LCD CONTRAST (Camera) Adjusts the display level of the images on the viewfinder. (Page 23) (MCR/ EVF COLOR LEVEL VCR) EVF BRIGHTNESS EVF CONTRAST (Camera) Selects the LCD mirror mode for self-portrait shooting. Select MIRROR to reverse left and right at self-portrait shooting. (Page 42) NORMAL MIRROR (Camera) Selects the LCD monitor and the viewfinder display setting. (MCR/ ON: VCR) Images always appear on the viewfinder. AUTO: Images do not appear on the viewfinder when the LCD is open. (Camera) Selects the aspect ratio of the LCD monitor and the viewfinder. (MCR/ AUTO: Changes automatically to the appropriate ratio according to the VCR) recording or play mode information. 4:3 : Fixed at 4:3. <Note> Black bands appear at the top and bottom of the screen when images are displayed at a 16:9 aspect ratio. No parts of the images are missing. (Camera) Selects color or black and white images on the viewfinder. (MCR/ ON: Color VCR) OFF: Black and white indicates the factory setting.

LCD SET

EVF SET

SELF SHOOT

EVF MODE

DISPLAY ASPECT

EVF COLOR

CARD FUNCTIONS screen

Item SCENE FILE
(Camera) You can save four SCENE FILE settings to the SD memory card, and can also title the saved files. READ: Read WRITE: Write (Camera) You can save four file settings (excluding SCENE FILE) to the SD memory card, and can also title the saved file. READ: Read WRITE: Write (Camera) Formats the SD memory cards.

USER FILE

SD CARD FORMAT

OTHER FUNCTIONS screen

Item REMOTE
(Camera) Sets the operations of the supplied remote control unit. (Remote control setup (MCR/ (Page 19)) VCR) VCR1: Accepts commands from the remote control set for VCR1. VCR2: Accepts commands from the remote control set for VCR2. OFF: Operations are not accepted from any remote control. (Camera) Sets the control method for backup recording using a backup unit connected to the 1394 terminal. OFF: The backup unit is not controlled. EXT: The backup unit can be controlled by the START/STOP button. The images shot by the camera recorder are recorded by the backup unit. Note that the camera recorder does not record them. BOTH: The images shot by the camera recorder are recorded by both the camera recorder and backup unit. CHAIN: When the camera recorders media approaches its end during shooting, the backup unit in the recording stand-by mode automatically starts recording images. (Camera) Sets how the START/STOP button works for the backup unit. REC_P: This switches between recording and pause. STOP: This switches between recording and stop. <Note> If the backup unit does not have a rec pause function, select STOP. indicates the factory setting.

1394 CONTROL

1394 CMD SEL
OTHER FUNCTIONS screen (continued)

Item END SEARCH

(Camera) Sets the operation when the END SEARCH button is pressed. (VCR) BLANK: Searches for the unrecorded parts on the tape. REC END: Searches for the last segment shot. (Camera) Selects the terminal for data transfer. (You cannot select USB and 1394 at the (MCR) same time.) USB DEVICE: Mode for sending files using the USB connector. 1394 DEVICE: Mode for sending files using the 1394 connector. 1394 HOST: Mode for copying files from the P2 card onto an external hard disk drive using the 1394 connector. (Camera) Sets lighting of the tally lamp. OFF: The tally lamp does not light. FRONT: Front tally lamp (microphone side) lights. REAR: Rear tally lamp (viewfinder side) lights. BOTH: Both tally lamps light. (Camera) Sets the access lamp to ON or OFF. (MCR) ON: The lamp lights up and blinks as per the regular specifications. OFF: The lamp is OFF in all circumstances. (Camera) Turns the beep sound ON or OFF. ON OFF When ON is selected, the beep is sounded under the circumstances set forth below. When the beep is sounded, the audio signals from the output connector are muted before the beep sound is output. When the memory of the P2 card or the tape has been used up during recording When a recordable tape has not been loaded when the power is turned on When a recording-inhibited tape has been inserted When condensation has formed inside the camera-recorder When trouble has occurred in the camera-recorder <Note> When LIVE has been set for the HP MODE option on the AV IN/OUT SETUP screen, no beeping sounds will be emitted even if ON is set for the BEEP SOUND option. (Camera) Sets the camera-recorders calendar. (MCR/ VCR) indicates the factory setting.

PC MODE

REC LAMP

ACCESS LED

BEEP SOUND

CLOCK SET

Item TIME ZONE
(Camera) Adds to or deducts from GMT the time value of -12:00 to +13:00 in 30-minute (MCR/ steps. (As an exception, you can set +12:45.) Refer to the table below. VCR) 0:00 Time difference 00:00 01:00 02:00 03:00 04:00 05:00 06:00 07:00 08:00 09:00 10:00 11:00 12:00 + 13:00 + 12:00 + 11:00 + 10:00 + 09:00 + 08:00 + 07:00 + 06:00 + 05:00 + 04:00 + 03:00 + 02:00 + 01:00 New Zealand Solomon Islands Guam Tokyo Beijing Bangkok Dacca Islamabad Abu Dhabi Moscow Eastern Europe Central Europe indicates the factory setting. Area Greenwich Azores Islands Mid-Atlantic Buenos Aires Halifax New York Chicago Denver Los Angeles Alaska Hawaii Midway Island Kwajalein Time difference 00:30 01:30 02:30 03:30 04:30 05:30 06:30 07:30 08:30 09:30 10:30 11:30 + 11:30 + 10:30 + 09:30 + 08:30 + 07:30 + 06:30 + 05:30 + 04:30 + 03:30 + 02:30 + 01:30 + 00:30 + 12:45 Chatham Islands Rangoon Bombay Kabul Tehran Norfolk Island Lord Howe Island Darwin Marquesas Islands Newfoundland Island Area

Item POWER SAVE

(Camera) Selects the power-saving mode when the top panel operation keys, DISP/ MODE CHK button, USER1-3 buttons and EVF DTL button have not been operated for 5 minutes or so. ON: The camera-recorders power is set to OFF. OFF: The cylinder head remains stopped without turning off the camera-recorders power. When connection is made with an external device using the IEEE1394 cable and the communication mode is established in this way, the power will not be set off even when none of the above buttons has been operated. The power will not be turned off when a P2 card or tape has not been installed in the P2 mode or TAPE mode, respectively, even if ON has been selected as this items setting. (Camera) LOAD: (MCR/ The previous user file settings are loaded. VCR) SAVE: The changed user file settings are saved. INITIAL: The user file settings are returned to the factory settings. After performing LOAD or INITIAL, turn the POWER switch OFF and then back ON to activate the settings. The setting for the TIME ZONE option (page 117) remains unchanged even when INITIAL is performed. (Camera) Displays the total running time (a 5-digit figure per hour) of the cylinder head. (VCR) (Camera) Displays the power-on time (a 5-digit figure). (MCR) indicates the factory setting.

DV (PAL) DVCAM (PAL)
offers higher color resolution, it minimizes jaggies at chroma edges - and thus is suitable for image composition. DVCPRO, DV (NTSC), and DVCAM (NTSC) use a 4:1:1 sampling rate. DVCAM (PAL) and DV (PAL) use a 4:2:0 sampling rate. Although these are the formats that the color signal resolution is half of what you get in 4:2:2 sampling their degradation of the video quality after duplication would be less, unlike HDV that also uses a different version of 4:2:0 sampling, because the luminance line is correspondent to the color difference line.
(ISO/IEC 13818-2 standard)
2-4 Differences in Audio Recording
DVCPRO HD format supports professional-level audio specifications with up to eight channels of uncompressed 48-kHz, 16-bit digital sound. AG-HVX200 itself can record up to four channels of audio. In HDV, audio recorded in MP2 format is compressed to 384 kilobits per second.
Comparison between HDV and DVCPRO HD in Audio Recording

DVCPRO HD

Compression
Compressed (MP2:MPEG-1 Audio Layer II)
Compressed (MPEG-2 Audio Layer II)
Uncompressed (Linear PCM)

Sampling

48 kHz

Quantizing

16 bit

Channel

2 channels

4 channels

8 channels (4 channels with AG-HVX200)
2-5 Video Format and Codec Supported by AG-HVX200
Recording Video Format*1 1080/60i 1080/24p(over 60i) 1080/24pA(over 60i) 1080/30p(over 60i) HD 720/60p 720/24p(over 60p) 720/30p(over 60p) 720/24pN(Native)*2 720/30pN(Native)*2 480/60i 480/24p(over 60i) 480/24pA(over 60i) 480/30p(over 60i) 480/60i SD 480/24p(over 60i) 480/24pA(over 60i) 480/30p(over 60i) 480/60i 480/24p(over 60i) 480/24pA(over 60i) 480/30p(over 60i)
*1 24p=23.98p, 30p=29.97p, 60p=59.94p and 60i=59.94i *2 In the Native mode, AG-HVX200 record only active flames. *3 P2: using two 8GB P2 cards. (half with a single card) DV: using a AY-DVM63 mini-DV tape

Rec Time*3

16 minutes DVCPRO HD
40 minutes P2 card 32 minutes

DVCPRO50

32 minutes

DVCPRO/DV

64 minutes

Mini-DV tape

60 minutes
3. A Revolution in Recording with the P2 Card
3-1 The P2 Card A Breakthrough in Professional Media
Many of the truly innovative functions of the AG-HVX200 are made possible by P2 card recording. The P2 card is a flash memory card developed by Panasonic as a professional AV media. Anyone who has used a digital still camera understands the advantages and convenience of file-based recording onto a memory card. The ultra reliability, fast data transfer, and ability to reuse solid-state memory breaks through the barriers of conventional videotape media to bring an exciting new, faster workflow to video production.
Select a clip from the thumbnail display for instant review. No need to search through scenes to record.

Using the P2 Card in a Nonlinear Editor You can insert the P2 card directly into the PC card slot of a notebook PC, or connect the P2 drive to a desktop PC via USB. Recordings are mounted as MXF files, so the clips can be directly registered in your nonlinear editing application without the need to digitize them. Once the files are saved to the PC's hard disk, the P2 card can be initialized and reused again and again. Easy Linking with Conventional Workflows Too Because the codec used in the P2 system is the same as that used throughout the DVCPRO family, it enables easy connection to conventional production/transmission systems, analog or digital, based on VTRs. This allows a smooth shift from tape to data files.
3-3 P2 Card Recording Functions on the AG-HVX200
Dual Card Slots and Multi-Codec Recording The AG-HVX200 has two P2 card slots, so you can record continuously onto two cards at a time. Choose from a DVCPRO HD, DVCPRO 50, DVCPRO or DV codec, or mix formats on the same card. An 8-GB card lets you record up to 32 minutes in DVCPRO or DV, 16 minutes in DVCPRO 50, or 8 minutes in DVCPRO HD. Recording time can be extended in 720p native mode, to give you 20 minutes of 24pN recording. Hot-swap recording Thanks to the AG-HVX200's two card slots, you can hot-swap P2 cards and have continuous non-stop recording. With multiple cards you can record for hours without interruption. Or, using an AJ-PCS060G, the "P2 Store," external hard drive, you can download recorded files from a P2 card and then initialize it (erasing the files), so it's ready for re-use. Loop recording Using two P2 cards and setting the AG-HVX200 for consecutive overwriting, you can repeatedly re-record during a particular recurring time slot, always maintaining a recording of the most recent period. Unlike video tape, P2 cards need no rewinding. They maximize your time and allow seamless, continuous recording. This makes them especially useful for unattended monitoring.
Pre-rec While in standby mode, you can continuously store, and subsequently record, up to 7 seconds in DVCPRO or 3 seconds in DVCPRO HD of video and audio. In effect, this lets you record footage of events that occur even before you press the rec start button, giving you a way to "go back" and capture moments you otherwise would have missed. Clip Thumbnail/Data Function The AG-HVX200 records each cut as a clip (file) and automatically attaches a thumbnail image and file information to it. To preview a clip on the LCD monitor or to check clip data, simply choose the clip you want from the list of thumbnails. The thumbnails and time code information can also be displayed using nonlinear editing software*.

* Supported by Canopus, EDIUS.
Shot Marker Function If desired, you can add a simple OK/NG shot marker to each clip either during or after recording. When a P2 card containing marked clips is inserted* in a PC, the PC will display with an M demarcation in the P2 viewer which of the clips is the one with the Marker.
* The P2 card driver (standard equipped) and P2 viewer (available on web at free for users) must be installed. These softwares operate under Windows XP and Windows 2000.
One-shot Recording Convenient for producing animation, this mode records for a set time (from 1 frame to 1 second) each time you press the Start button. Interval Recording Recording one frame at a time at set intervals (from 2 frames to 10 min), this mode is useful for monitoring and special ultra-undercranking effects.
3-4 The P2 Workflow Following Acquisition
IEEE1394 (A/V Stream) USB2.0 (File Transfer) IEEE1394 (A/V Stream, File Transfer)

AG-HVX200 P2 card

Windows PC

Macintosh

Capture on a Card, Then Link to Mac or Windows in PC Mode P2 offers a highly simple solution to video production, because it lets you shoot, preview, and edit using only the AG-HVX200 and a notebook PC. In PC mode, the AG-HVX200 connects directly via USB 2.0 to a PC running Windows. In IEEE 1394 Device mode, it connects directly to a Mac. This lets you use the AG-HVX200 as a P2 card drive, providing easy access to recordings on the P2 card.
*Windows is a registered trademark of Microsoft corporation. *Macintosh is a trademark of Apple Computer, Inc., registered in the U.S. and other countries.
P2 drive P2 card (Recorded) USB 2.0 AG-HVX200 P2 card (Blank) P2 store P2 store NLE
Capture on a Card, Then Mount to a Desktop Nonlinear Editor P2 store mounts directly to your PC, which recognizes it as a hard-disk drive. The P2 card also loads directly into P2 store. P2 files in DVCPRO HD format has been supported by Apple, Avid, and Canopus.

Apple Final Cut Pro

Avid Xpress Pro HD Avid NewsCutter family Avid Media Composer Adrenaline HD
Canopus EDIUS HD/SD/SP/Broadcast Canopus EDIUS NX/NXe/Professional with Broadcast Upgdare Option)
*Apple and Final Cut Pro are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. *Avid Xpress, Media Composer, and NewsCutter are trademarks registered in the United States of Avid Technology, Inc. or its subsidiaries. *Canopus, EDIUS are registered trademarks of Canopus Co., Ltd.

Film Camera Picture Frame Recording Speed Playback Speed Gradation Full (Film) Variable Fixed Film Tone
Conventional Video Cameras 2 fields Interlace Fixed Variable Video Gamma
VariCam or AG-HVX200 (720p mode) Full (Progressive) Variable Variable Cine-like Gamma (selectable)
4-2 Overcranking and Undercranking by Changing the Frame Rate

Rec & Play 24 fps

Standard recording speed for Movie Production (Playback at Same Speed)

Overcranking

Rec 48 fps 2x Higher speed shooting
Play 24 fps provide 1/2x slow-motion when standard playback

Undercranking

Rec 12 fps 1/2x lower speed shooting
Play 24 fps provide 2x quick-motion when standard playback
When set to 720p mode*, the AG-HVX200 lets you change the frame rate from the standard 24p/30p to any of 11 steps from 12p to 60p.
* In 1080 and 480 modes, the frame rate cannot be changed from the 24p/30p/60i setting.
Standard Recording Speed (24 fps) for Movie Production When making movies that will be projected onto a screen, video is recorded at the standard (1x) frame rate of 24 fps, which is the same as the playback speed of film. The AG-HVX200 can also record at 1080/24p (over 60i) or 480/24p (over 60i), in addition to 720/24p. Standard Recording Speed (30 fps) for TV Commercials and Programs When producing HD/SD TV broadcasts, video is recorded at the standard (1x) frame rate of 30 fps. This gives commercials and music clips a high, film-like image quality, and is suitable for TV broadcasting too. The AG-HVX200 can also record at 1080/30p (over 60i) or 480/30p (over 60i), in addition to 720/30p. Overcranking (26* fps or Higher) Overcranking provides slow-motion playback, which is frequently used in climax scenes or for dramatic effects like car chases and action scenes. For example, a video clip recorded at 48 fps provides a slow-motion effect that is 1/2 normal playback speed (at 24 fps). This provides a high-quality slow-motion effect with high-density and a smooth frame transition, unlike the slow-motion effects of other video recording systems.
* 24 fps as standard speed. For a standard speed of 30 fps, 32 fps and higher achieve overcranking.
Undercranking (22* fps or Lower) Undercranking is used for special effects in certain scenes, such as to add emphasis to a current of water or a cloud, a person standing in a busy crowd, or martial arts type action. A video recorded at 12 fps, for instance, yields a fastmotion effect of 2x normal speed in playback (at 24 fps).

*24 fps as standard speed. For a standard speed of 30 fps, 26 fps and lower achieve undercranking.
4-3 Slow-Motion and Fast-Motion Effects

Slow-Motion Effect

2.5 times slower when set to 60fps in 24p mode, two times slower when set to 60fps in 30p mode
Dramatic Effects for Decisive Moments in Sports Competition Slow-motion is most commonly used to give a dramatic effect to crucial moments in sports scenes. To emphasize speed, a slower shutter speed is used to produce a soft focus. For example, a faster shutter speed can be used to make beads of perspiration drop like tiny balls of water. Making Objects Appear Huge in Science Fiction Works Slow-motion shooting has been used ever since moviemakers started producing science fiction films, with their monsters and other imaginary creatures and objects. By reducing the speed, the slow-motion effect makes monsters and miniature objects seem much larger. The degree of this effect can be adjusted by varying the shutter speed. Explosions and Implosions The slow-motion effect is also used to emphasize major moments in a movie. Although a fast shutter speed is commonly used to create a strong visual impression, a slow shutter speed can produce a highly distinctive effects during an implosions. Retrospective Scenes Slow motion can also be used to present imaginary scenes, such as recollections of the past. For these scenes, the slow-motion effect is often added with a change of color tone. The brightness is also sometimes adjusted, and the shutter speed is varied to achieve the intended effect.

Fast Motion

2 times faster when set to 12fps in 24p mode, 2.5 times faster when set to 12fps in 30p mode
Adjusting the Speed to Show Actors in Fast Motion A fast-motion effect can be used to compensate for the slower movements of the actor wearing heavy costumes. For this purpose, the speed is increased only slightly to retain natural motion. The shutter speed is not usually changed at all. Comical Effects Fast motion can be used to create an unrealistic, entertaining effect in a comedy action scene. Extremely fast speed is often combined with computer graphics. The shutter speed is varied over a wide range according to the intended effect. Special-Effect Scenes A fast-motion effect can be used to create various effects. For example, it can make the main character appear to be stationary in a bustling crowd, or make a waterfall or river flow like moving silk. Here, the shutter speed is selected from a wide range. CG-Like Effects If a car's tail lamps or building lights are recorded with the shutter fully open while slowly sweeping the camera, a blurring effect results, rendering an image similar to a computer-generated image.

Special Techniques

Undercranking to Increase the Gain When lighting is insufficient, the frame rate can be reduced to increase the gain while preserving image quality. A slower shutter speed produces an even more effective result.
Undercranking with No FRC This technique uses undercranking for fast-motion recording. This technique cannot be used with images shot with a film camera. It is often used when producing commercials recorded with the VariCam. The resulting image creates a fast-motion effect. It gives a blurry effect to a normal-speed image, to achieve a unique ambience. This technique is not recommended for scenes in which an object moves across the screen, since the motion will be somewhat jerky.
Table of Frame Rate and Speed Effect

Supported Frame Rate

Speed Effect in 24p base

Speed Effect in 30p base

12 fps

200% Quick

250% Quick

18 fps

133% Quick

167% Quick

20 fps

120% Quick

150% Quick

22 fps

109% Quick

136% Quick

24 fps

100% Standard

125% Quick

26 fps

92% Slow

115% Quick

30 fps

80% Slow

32 fps

75% Slow

94% Slow

36 fps

66% Slow

48 fps

50% Slow

62% Slow

60 fps

40% Slow

4-4 Native Mode (720/24pN and 720/30pN) for Special Effects Using only the Camera-Recorder
Frame Rate Converter (FRC) VARICAM

DVCPRO HD Studio VTR

New Function: Native Mode(720/24pN and 720/30pN) The use of the P2 card as a recording media has led to the development of a new function, native mode, for recording images at the frame rate used by the camera. Since the AJ-HDC27H VariCam uses tape as its recording media, its recording is based on 60p even when the image acquisition frame rate is varied. For example, in 24p mode, the AJ-HDC27H records 60 fps by applying 2:3 pulldown. Therefore, to preview the image effect, the recorded data has to be processed using a frame rate converter and the effective frames must be extracted.
In comparison, the AG-HVX200's native 24p mode (24pN) records only 24 fps onto a P2 card. This lets you preview the slow- or fast-motion effect of the variable frame rate function on-the-spot without having to use a frame rate converter. Copying Slow-/Fast-Motion Recordings onto DV Tape In addition to its P2 card slots, the AG-HVX200 is equipped with a mini DV tape drive. This allows DV recording and also lets you down-convert a DVCPRO HD source (1080i/720i) recorded onto a P2 card and copy it to mini DV tape. When copying, a recorded video image that has been overcranked or undercranked in the native mode remains in the frame-rate-converted condition during the downconversion process. The AG-HVX200 lets you easily create special speed effects without using any other hardware or software. Until now, this was possible only with a complete VariCam system.

Frame rate conversion with over 60p mode recording (Ex. 40-fps)

active frame

Camera Shooting (40-fps)
Recording Format (over 60p mode)

1/60 s

Frame Rate Conversion (24-fps)

2/3x speed slow-motion

AG-HVX200 native mode recording (Ex. 40-fps)

Recording (native mode)

Playback (24-fps)
4-5 720p (over 60p) Mode Provides Extra Convenience for VariCam and Other Systems

USB2.0 P2 card P2 drive

P2 card (recorded) P2 store P2 card (blank) AG-HVX200 IEEE 1394 (AVC) FOCUS FS-100

USB2.0

IEEE 1394 (AVC/SBP2)

VARICAM

720p (over 60p) Mode Compatible with DVCPRO HD The 720/Xp over 60p mode is fully compatible with VariCam. For instance, in 24p, this mode records 60 fps by applying 2:3 pulldown. Because the data recorded in this mode is in the same format as signals recorded onto DVCPRO HD tape by the VariCam, it can be incorporated directly into the VariCam production flow. IEEE 1394 (AVC) A/V Stream Output This mode offers another handy advantage. Since it is able to stream DVCPRO HD from the IEEE 1394 terminal while recording, an external HDD recorder such as the AJ-HD1200A DVCPRO HD recorder or FOCUS FireStore FS-100 (available soon) can be connected for backup recording.
1080/480 24p Advance Mode Progressive recordings in 1080 and 480 can be converted to 60i in 24p/30p/24pA (Advance) mode. The 24p Advance mode uses 2:3:3:2 pulldown. When recording data is uploaded via IEEE 1394 interface to a nonlinear editing system* supporting this mode, 60i/24p conversion can be done with minimal image degradation, thus allowing you to maintain high image quality in production.
* Applicable systems and formats, visit our Website : <https://eww.pavc.panasonic.co.jp/pro-av/>, "P2 Compatibility Table".
24p Mode (2:3 pulldown) 24p (capture)

60i (record)

AABBBCCDDD E E F F F GGHHH A B C D E F G H

24p Advance Mode (2:3:3:2 pulldown) 24p (capture)
60i (record) 30p Mode 30p (capture)
AABBBCCCDD E E F F F GGGHH A B C D E F G H I J
AABBCCDD E E F F GGHH I I J J
5. Camera Functions and Operating Ease
Inheriting the Popular DVX100 Series Design

Leica Dicomar lens with 13x optical zoom and optical image stabilizer Eight gamma curves, including the cine-like gamma curve Matrix table selection, including the cine-like mode H detail, V detail, detail coring, and skin detail Chroma level, chroma phase, color temp, and master pedestal Knee point settings: Auto, Low, Mid, and High Cam-driven manual zoom ring Manual focus ring Focus assist function (zoom up center portion) Auto/manual selectors: Auto aperture (iris), auto gain, auto-tracking white balance, auto focus with single ON/OFF control for all Auto focus/infinity position/Push Auto button Manual aperture dial 3-position gain selector (0/+3/+6/+9/+12 dB) ND filters: 1/8 ND and 1/64 ND
Max. 1/12 sec slow/synchro/high-speed shutter (1/2000 sec.) Three user buttons 3-position white balance selector/auto-tracking white balance Mode check: Easy camera status display Two XLR audio input terminals with 48-volt phantom power supply Large, bright 3.5-inch color LCD monitor Camera-to-camera Initial Time-code copy via IEEE 1394 User files and scene files can be stored on SD Memory Card for copying and use by multiple AG-HVX200 units.
Analog Component Out for outputting 1080i/720p/480i (each 59.94 Hz) Remote control of focus, iris, zoom, and rec start/stop Large audio recording level controls Large tiltable electronic viewfinder Front and rear tally lamps 16:9 squeeze/letter box modes selectable in SD 6-position scene file dial Trigger and zoom button on upper handle grip Zebra function: Two patterns, 50% to 105% in 5% steps Center marker: Accurate numeric display of the brightness at screen center
Six Scene Files (Factory Setting)
F1: SCENE File suitable for normal shooting. F2: SCENE FLUO. File suitable for shooting under fluorescent lights, i.e. indoors. F3: SCENE SPARK File suitable for shooting with greater extremes of detail enhancement, color and contrast. F4: SCENE B-STR File for broadening the contrast of dark parts, such as when shooting sunsets. F5: SCENE CINE V File suitable for shooting film-like scenes where the contrast is to be emphasized. F6: SCENE CINE D File suitable for shooting film-like scenes where the dynamic range is to be emphasized.
6. Applications and Workflows
6-1 High-End Production of Movies and Commercials
Mobility, Easy Operation and High Cost-Performance The mobility of the compact, lightweight AG-HVX200 rivals that of a DV camera for use in high-end production, such as in movies and TV commercials. It allows the kind of active shooting that is difficult with a conventional shoulder-type HD camera, and introduces an entirely new level of video expression. Fitting a host of shooting and recording functions, such as a variable frame rate, into its sleek-looking body, the AG-HVX200 also offers great solutions to many tough shooting situations with its easy operation and high costperformance. Shots that Only a Mobile Handheld Camera Can Achieve Inside a car The AG-HVX200 fits into cramped car spaces where a shoulder-type camera could not. Its short body also allows it to be swung around easily inside the car. Mounted to a car body It is difficult to securely mount a large, shoulder-type camera to the side or hood of a car for action shots. The AG-HVX200 can be easily mounted just about anywhere.

Record a wedding's flower shower in slow motion Overcranking a close-up of the bride and groom in the climactic flower shower of a wedding, using a 60p frame rate in a 720/24p or 720/30p production will create the kind of beautiful, slow-motion scene that you see in movies. When using native mode, you can also check the results on the spot, and you can downconvert and dub the slow-motion images onto DV tape. This gives you DV source images without having to use any other equipment.
Capture the bouquet toss with multi-cameras Using Initial Time Code Copy function, multi-camera shooting becomes easier, and you can have varieties of effective video images. And, the editing is easier using time code. For example, camera A can record bride from straight ahead, then zoom in to show her with the lucky girl who caught the bouquet. Camera B can follow the motion of the bouquet in flight with a series of shots taken from behind the bride. This dramatic effect can be increased by using the Variable Frame Rate function to shoot in slow motion.
Take aerial shots of the wedding site with a radio-controlled helicopter A radio-controlled helicopter can be used to take aerial shots of the wedding site or outdoor wedding scene. Increase the effect by combining this with the dramatic release of balloons or white doves. A wide-conversion lens is also effective here (available soon from a thirdparty vendor). Shoot in vertical 16:9 By holding the camera on its side and shooting vertical 16:9 images, you can take close-ups of the bride's wedding dress from head to toe. This shot would create a beautiful impression projected onto a vertical screen inside the wedding reception as a special dramatic effect.
6-4 Image Production Workflow Together with Tape

SHOOTING

DVCPRO HD tape

VARICAM AJ-HDX400

P2 card

P2 drive

P2 card (recorded) P2 store AG-HVX200 (DVCPRO HD) P2 card (blank) P2 store

Field temporary back up

FOCUS FireStore FS-100

Long recording time

Broadcast-quality DVCPRO HD acquisition Various kinds of video effects (slow- and fast-motion, blur, etc.) Reliable and quick operation with the P2 card Support for the DVCPRO HD tape workflow

EDITING

DISTRIBUTION
IEEE 1394 (AVC) Nonlinear Editors (Apple, Avid, and Canopus) AJ-HD1200A DVCPRO HD Conventional System

Contents Archive

Data Tape
6-5 File-Based Image Production Workflow

P2 card P2 drive

P2 card (recorded) AG-HVX200 DVCPRO HD
USB2.0 P2 card (blank) P2 store P2 store
Thumbnail display Random access playback VFR recording
IEEE 1394 (AVC) FOCUS FireStore FS-100
Broadcast-quality DVCPRO HD acquisition Various kinds of video effects (slow- and fast-motion, blur, etc.) Reliable and quick operation with the P2 card

HD Monitor BT-LH1700W

Projector

DVD-R (VC1, H.264 etc.)

Nonlinear Editors (Apple, Avid, and Canopus)
Player with HD playback capability
File transfer (= No need digitize)
PC HDD Blu-ray Disk DVD-RAM/R

Back Up

6-6 DV-Based Image Production Workflow
Mini-DV AG-HVX200 DV DV VTR AG-DV2500
Convert DUB. P2 card VFR recorded DVCPRO HD) Mini-DV
Record with a variable frame rate onto a P2 card, then dub it onto DV tape to achieve speed effects in your existing DV environment.
Various kinds of video effects (slow- and fast-motion, soft focus, etc.) can be achieved in your existing DV production environment. Record with a variable frame rate onto a P2 card, then dub it onto DV tape to achieve speed effects in your existing DV environment.
HD Monitor BT-LH1700W DVD-R
Nonlinear editors with DV tape compatibility (Adobe, Apple, Avid, and Canopus also support 24pA.)

SD DVD-VIDEO MPEG2

DVD Player

DV VTR AG-DV2500 Mini-DV

6-7 News Workflow

P2 card (recorded)

P2 store AG-HVX200 DVCPRO HD P2 store P2 card (blank)
Speedy content checking and selection with the thumbnail display Loop-rec and pre-rec functions
Transferring files for quick, easy uploading
The P2 handheld camera is ideal for journalists SD/HD multi-format recording Versatile recording modes help to catch sudden shooting opportunities Reliable and quick operation with the P2 card

NETWORKING

Contents Aircive
USB 2.0 EtherNet Nonlinear Editors (Apple, Avid, and Canopus)

Server Database

Workstation

7. Terminology

Cam-driven zoom: This zoom system lets the operator directly control the zoom lens by manually operating the zoom ring. The zoom lens is controlled by a cam mechanism, from which the name is derived. Because there is no time lag during operation, as there is with electronic zoom systems, you get exactly the zoom effect youre looking for. S/N: Expresses the ratio of signal to noise. The larger the number, the lower the noise. Scan: This refers to using the camera lens and circuitry to convert the image that enters the lens into an electric signal. The AG-HVX200 initially scans at 1080/60p, and then, according to the recording mode, converts the video signal from progressive to interlaced, or down-converts it to SD (standard definition). In this way, it begins by capturing complete, progressive HD (high definition) images, then converts them as necessary. This produces a level of image quality that is not possible by using interlaced scanning and then processing it with electronic interpolation. DSP: Abbreviation for digital signal processor, which is an LSI that processes digitalized video and audio signals. The higher the bit count, the finer the resolution. Featuring 14bit A/D conversion and 19-bit internal processing, the high-performance DSP in the AG-HVX200 rivals those used in broadcasting cameras. Gamma: The gamma curve represents the characteristics with which changes in the brightness of the image are converted into an electric signal.

Abbreviation for professional plug-in. The P2 card was developed for use as a professional AV media. By packaging four SD Memory Cards into a single P2 card, it provides four times the capacity and data transfer speed of the SD Memory Card. It also exhibits the kind of remarkable characteristics and superior reliability under harsh conditions that are possible only with a solid-state memory, resisting impacts up to 1,500G and vibration up to 15G, operating in temperatures from -20 to 60C, and enabling storage from -40 to 80C. P/I conversion: The conversion from progressive to interlaced. The CCD system in the AG-HVX200 uses progressive scanning. Since a progressive frame with complete image information is divided into two interlaced fields in P/I conversion, the resulting fields form a complete image, with no shifting, when displayed as an interlaced image. This is not possible with cameras whose CCD system uses interlaced scanning. When two interlaced fields are combined to form a single frame showing movement, a certain amount of shift inevitably occurs between the two fields, which causes blurring and other problems. Cross-conversion: Converting from HD to SD is called down-conversion, and from SD to HD is called up-conversion. Cross-conversion refers to converting between the two 1080 and 720 formats of HD (1080720). Down-conversion: Converting a video signal based on a certain standard to a video signal of a lower standard. Example: (HDSD) Codec: Abbreviation for compression/decompression. This is a program that compresses and decompresses data. Codecs for various formats are used to handle the large amount of data in video and audio files. 16:9: While current standard-definition TV broadcasts use a 4:3 aspect ratio (the ratio of vertical-to-horizontal screen dimensions), HD broadcasts use the wider, 16:9 ratio. P2:

Aspect ratio:

DVCPRO HD:
The horizontal-to-vertical ratio of the image size. SDTV 4:3 Conventional TVs have a 4:3 ratio, and HDTVs have a 16:9 ratio. Aspect ratios for movies include the standard size of 1.38:1 and vista sizes of 1.66:1 or 1.75:1. The aspect ratio has a major effect on the dramatic elements and mood of the images and scenes displayed. Standard 1.38:1 An HD component digital format and codec. HDTV The DVCPRO HD codec applies the DCT 16:9 (1.78:1) (discrete cosine transformation) compression Vista Size 1.85:1 algorithm to HD component signals to achieve Cinemascope digital compression with superb image quality. 2.35:1 Because it uses the same DCT process of intraframe compression as the other DVCPRO formats, it is able to handle data at a fast 100 Mbps, but its low compression ratio of 1/6.7 maintains high image quality. Its superior codec characteristics also allow it to preserve HD image quality and perform highly efficient data processing in nonlinear editing systems. Sonys HD component digital format. It uses 8-bit sampling of the HD component signal, with a Y:Pb:Pr = 3:1:1 sampling rate, for a compression ratio of about 1/7.

*HDCAM is a registered trademark of Sony Corporation.

HDCAM:

A format that records HDTV video signals (1080i) at about 25 Mbps (approximately the same as the DV format) onto DV cassette tape. In contrast with the DV format, it uses interframe MPEG2 video compression, resulting in a high level of compression. (MPEG2 MP@H-14: Main profile and high 1440 level)
*HDV and HDV logo are trademarks of Sony Corporation and Victor Company of Japan, Limited (JVC).
A full-specification HD component digital format developed by Panasonic. It uses 10-bit sampling of the HD component signal, with a Y:Pb:Pr = 4:2:2 sampling rate. It is able to preserve high image quality by covering the entire HD signal frequency range. Frame rate: The number of images that can be recorded or played per second. VariCam: A professional video camera that uses the DVCPRO HD 720p format. Featuring special gamma curves and the Variable Frame Rate function, VariCam is widely used in producing movies for cinema screening. Variable frame rate: The ability to vary the number of images that can be recorded per second. By shooting at 60 fps (frames per second) and playing it back at the 24-fps speed, a 2.5x slow-motion effect can be achieved. DVCPRO 50: A 4:2:2 component digital format and codec. Compared with DVCPRO (25M), the color signal (Pb:Pr) range is wider, so the image quality is higher. By using the Y:Pb:Pr = 4:2:2 sampling rate and DCT compression for an SD component video signal, the data can be compressed to about 1/3.3 that of the original signal. The name DVCPRO 50 is derived from its data transfer speed of 50 Mbps. DVCPRO: A 4:1:1 component digital format and codec. This broadcasting and professional digital video format and codec applies the image-enhancing DV video codec (with DCT compression). The 4:1:1 component digital format was originally developed for recording digital signals onto 1/4-inch tape, but its compression process was also highly effective for codec use. By sampling an SD component video signal (Y:Pb:Pr) with the 4:1:1 sampling rate and applying the intraframe compression of the DCT algorithm, it allows the data to be compressed to about 1/5 that of the original signal while

HD-D5:

preserving high image quality. With a data transfer speed of 25 Mbps, DVCPRO is a professional-level format that differs from the DV format in that its audio data is synchronized with the video data (locked audio). It is also sometimes called DVCPRO 25M to differentiate it from other DVCPRO formats. Because the DV format also has a data transfer speed of 25 Mbps, some nonlinear editing systems do not distinguish between DVCPRO 25M and DV.
Progressive scanning: In an interlaced format, which has been the mainstream in TV broadcasting formats, fields containing either an odd-numbered or even-numbered line are alternately scanned, and a pair of these odd-numbered and even-numbered lines is used to form one frame. As a result, there is a time lag between the odd-numbered and even-numbered lines, and a shift in the image inevitably occurs between them when they are displayed together. Progressive scanning, on the other hand, scans all of the lines in each field, so there is less degradation in the resolution of moving images than in interlaced scanning, and less flicker.
Frame: TV images express motion by continually displaying 30 still images per second. Each of these individual still images is called a frame. With interlaced scanning, where odd- and even-numbered scanning lines are alternately displayed, each set of scanning lines is called a field and two fields are combined to form one frame.
Cine-like gamma: This is a gamma curve that allows a video camera to obtain the same wide range of latitude (ability to reproduce gradation) as movie film. Dynamic range: The range within which values or variables change. The dynamic range for images refers to the luminance range. Gradation: The steps of contrast in an image. Gamma curve: A conversion curve used to allocate levels of image brightness to data in a nonlinear manner.

[P.11]

MPEG2: MPEG stands for the Moving Picture Experts Group, a committee that studies standardization of multimedia, established jointly by ISO (International Organization for Standardization) and IEC (International Electrotechnical Commission). MPEG2 is one of the standards established by this committee, along with others, including MPEG1 and MPEG4. These standards are based on interframe compression technologies that compress data by detecting and saving only the image parts that express movement between one frame or field and the next, and combinations of intraframe compression technologies. MPEG2 is used in HDTV and other types of satellite digital broadcasting, and in DVD package media, among other applications. This is a phenomenon in which parts of the playback signal are lost or weakened because they are not properly transmitted. It occurs when particles peel off of a magnetic tape, or when foreign matter adheres to the magnetic surface of the tape.