Panasonic P2HDXAG-HPX500 User Manual

TENTATIVE

P2HDXAG-HPX500

PRACTICAL GUIDEBOOK

P2HDXAG-HPX500

PRACTICAL GUIDEBOOK

Next-generation camcorder media aimed at professionals, including hard disk dr ives (HDD) and Blu-ray discs (BD) vary in shapes and structures. However, their main advantage is probably that the data on the media used for shooting does not need to be digitized, meaning that it is ready for immediate use in non-linear editing (NLE) systems. Whereas HDD and BD both require specialized input devices (docking stations or dedicated drives), the P2 (Professional Plug-in) card system proposed by Matsushita provides the benefits of solid-state memory, including durability, portability and freedom from mechanical issues. This gives it numerous advantages over other media as a recording system for professionals. In recent years, a key issue for all production sites has been ensuring that their recording media works smoothly with their PC systems. In this regard, because they can be used in existing PC card slots and allow data to be transferred directly to notebook PCs with ease, Matsushita's P2 cards offer an extremely convenient and efficient media system in comparison with other non-contact media.

A 16 GB P2 card will hold roughly 16 minutes of broadcast-quality HD format 1080i signals using DVCPROHD mode, or around 40 minutes of 720p mode recording in 24p native mode. Clearly, the key limitation is the shor t absolute limit on recording time when compared with existing tape-based recording and other formats. But when we consider the prospects for future development and the future of the SD memor y cards that provide the basic technology for P2 cards, it is also apparent that these problems are only short-term issues and will soon be overcome.

And while other media provide only one means of access (recording) for each recording (shot), the P2 system provides a Hot Swap function that allows multiple cards to be inserted in parallel for sequential recording. This means that 2 or more P2 cards can be used to record indefinitely without disconnecting the backup line.

Looking at the development roadmap for the future of P2, the capacity is slated to double each year while the cost per unit of capacity will fall. For instance, with the 32 GB P2 card planned for release at the end of 2007, it will be possible to shoot continuously for approximately 2 hours on the new AG-HPX500 introduced here, since that model comes with 4 slots, each of which will store 32 minutes of HD recording. Even on its predecessor the AG-HVX200, it will be possible to record 1 hour of HD video, recording 32 GB in each of its 2 slots. And given that later models will support the new AVC-Intra data compression codec, P2 media clearly have a bright future. With such strong future prospects, the P2 card system will surely become the media of choice for core photography flow systems at professional sites of the future.

This guidebook is intended primarily for AG-HVX200 users or those who are running tape media operations (DVCPRO, DVCAM, etc.) with conventional SD, and provides straightforward descriptions of the procedures and settings for a basic photography, recording and editing system capable of creating and handling HD productions using the AG-HPX500 and the P2 card system.

Contents

P3_4

P5_6

P7_8

P9_10

P11_12

P13_14

P15_16

P17_18

P19_20

P21_22

P23_24

1 AG-HPX500 Basic Setting for Aquisition

2 AG-HPX500 Recording codec and format

Variable Frame Rate Data capacity according to collection format / AG-HPX500 Pre-shooting setup

4 AG-HPX500 Pre-shooting setup

5 Hot Swap feature of the P2 system Method of back up various data

6 Special Effect Variable Frame Rate

7 Special Recording Pre-REC/One-Shot/Loop REC/Interval REC

8 Using P2 Cards

9 From P2 to non-linear editing workstation

10 Editing of Advanced mode (pA) Frame rate converter (Software)

11 Method of operating P2Viewer

P25_26

P27_28

P29_30

12 P2 data back-up and creating archives

13 P2-compatible non-linear editing systems other than Apple Final Cut Pro

P2HD P2HD X AG-HPX500 List of Terms

P2HDXAG-HPX500 PRACTICAL GUIDEBOOK

Shooting Procedure

Operation of the P2 system begins with deciding what to shoot, and how to shoot it (tone, recording format).

59.94Hz (NTSC) and 50Hz (PAL) settings

Before shooting with the AG-HPX500, set it to 59.94Hz (NTSC) or 50Hz (PAL).

(2) Setting the recording format

Next, under REC FORMAT (recording format), select 1080, 720 or 480(576) setting.

Basic Setting for Aquisition

CAMERA MENU

OTHER FUNCTIONS

SYS MODE

Select system mode.

Select 59.94Hz or 50Hz

AG-HPX500

CAMERA MENU

RECORDING SETUP

REC FORMAT

*Selecting 1080 or 720 at this stage will result in HD recording, while selecting 480(576) will result in SD recording (for details, see pp. 5-6)

(3) Recording format = SCENE FILE setting

CAMERA MENU

SCENE FILE

OPERETION TYPE

Select VIDEOCAM mode or FILMCAM mode.

*See page 11 for storing scene file.

VIDEOCAM mode and FILMCAM mode

AG-HPX500 has VIDEOCAM mode and FILMCAM mode. Each mode has some exclusive functions against another mode.

<Exclusive features of each mode> VIDEOCAM mode: Shutter(1/sec.), Special Recording(Loop REC, Interval REC, One-shot)

FILMCAM mode: Shutter(Angle), Variable Frame Rate

P2HDXAG-HPX500 PRACTICAL GUIDEBOOK

Recording codec and format

Operation of the P2 system begins with deciding what to shoot, and how to shoot it (tone, recording format).

AG-HPX500 recording codec

Like the AV-HGX200, the AG-HPX500 has a total of 32 recording formats (14 HD formats and 18 SD formats) that can be selected, depending on shooting conditions. The codec for recording to P2 card is DVCPRO HD when recording in HD format (1080, 720), while when recording in SD format (480/576), DVCPRO 50, DVCPRO, or DV can be selected.

Recording codec and format

Setting at HD

Setting at SD

AG-HPX500

Image formats and codecs supported by the AG-HPX500

With the P2 system, it is possible to have recordings in a variety of these formats on a single P2 card, but it should be noted that at time of playback, the format must be the same as that used when recording.

Image format

HD 60Hz

HD 50Hz

SD 60Hz

SD 50Hz

*1: "24p" is recorded as 23.98p, "30p" as 29.97p, and "60p" / "60i" as 59.94p and 59.94i respectively. *2: Only valid frames will be recorded when in native mode. *3: Stated recording times are those when four 16GB P2 cards are used. When one card is used, recording time will be 1/4 of that shown.

In addition to image format and codec, the function setting and number of cuts may also affect recording time.

1080/60i 1080/24p(over 60i) 1080/24pA(over 60i) 1080/30p(over 60i) 720/60p 720/24p(over 60p) 720/30p(over 60p) 720/24pN(Native)* 720/30pN(Native)* 1080/50i 1080/25p(over 50i) 720/50p 720/25p(over 50p) 720/25pN(Native)* 480/60i 480/24p(over 60i) 480/24pA(over 60i) 480/30p(over 60i) 576/50i 576/25p(over 50i)

Recording time

64 minutes

160 minutes 128 minutes

64 minutes

128 minutes

128 minutes(DVCPRO 50) 256 minutes(DVCPRO/DV)

Recording codec

DVCPRO HD

Checking the format

720/24 p(over 60p)

(1) (2) (3) (4)

(1) Size of angle of view (based on number of vertical lines in the image) (2) Frame rate (camera CCD side) (3) p = progressive, i = interlace (4) Frame rate for this recording format during standard recording

* (4) will only appear when the CCD frame rate differs from the recording frame rate

General HD recording methods

Standard recording

1080/60i, 50i

1080/24p(over 60i)

1080/24pA(over 60i)

1080/30p(over 60i) 1080/25p(over 50i)

720/24p(over 60p) 720/30p(over 60p) 720/25p 720/60p 720/50p

•Suitable for high-definition broadcasting, such as digital terrestrial broadcasting

•Movies for theatrical release, etc. Also known as normal 2:3 pull-down recording.

•Movies for theatrical release, etc. If it is possible to convert 2:3:3:2 advanced pulldown in editing, accurate 24-frame conversion is possible. Note) Please check with post-production to confirm whether it is possible to remove advanced pulldown.

* Please refer to "Importing to 6-1 FCP" for the details of advanced pull-down removal in Final Cut Pro.

•Commercials, music videos, CG synthesis, Blu-Ray/HD-DVD content

Commercials, music videos, CG synthesis, video for public urban broadcast, Blu-Ray/HD-DVD content, Web video, mobile-terminal video, etc.

[720/24p(over 60p) might be used for Movies for theatrical release.]

Shutter speed guide

• Shutter speed (default) 60i.60p mode 30p mode 24p/24pA mode 50i.50p mode 25p mode

• Shutter speed (variable) 60i mode 30p mode 24p.24pA mode 50i.50p mode 25p mode

• Shutter speed (slow) 60i.60p mode 1/30 30p mode 24p.24pA mode 50i.50p mode 1/25 25p mode

1/60(OFF), 1/100, 1/120, 1/250, 1/500, 1/1000, 1/2000 second 1/30, 1/50(OFF), 1/60, 1/120, 1/250, 1/500, 1/1000 second 1/24, 1/50(OFF), 1/60, 1/120, 1/250, 1/500, 1/1000 second 1/50(OFF), 1/60, 1/120, 1/250, 1/500, 1/1000, 1/2000 second 1/25, 1/50(OFF), 1/60, 1/120, 1/250, 1/500, 1/1000 second

1/60.0 - 1/249.8 1/30.0 - 1/249.8 1/24.0 - 1/249.8 1/50.0 - 1/249.8 1/25.0 - 1/249.8

1/15 1/15 1/12 1/12 1/12

(4) Gamma Setting (Eight-Mode Gamma)

Drawing on technologies developed for the VariCam, Panasonic has equipped the AG-HPX500 with advanced gamma functions that address eight different shooting scenarios and expand your creative abilities. Included are Cine-Like Gamma, which gives recordings the characteristic warm tone of film recordings, and a News Gamma that's designed especially for news gathering.

AG-HPX500 Gamma Modes NEWS:

Minimizes washout to faithfully capture all visual

information especially in the highlights HD NORM: LOW: SD NORM: HIGH: B.PRESS: CINE-LIKE_D: CINE-LIKE_V:

Suitable for HD recording

Works to flatten out high-contrast scenes

Normal setting for SD

Provides additional contrast and color gradation

Provides more contrast and richer blacks to low-contrast scenes

Shifts the Cine-Like mode to prioritize dynamic range

Shifts the Cine-Like mode to prioritize contrast

For Cinema shooting, recommend to select CINELIKE_D or CINE-LIKE_V, and adjust chroma level etc., so that you can get film-like tone footage as you want. Your original setting can be stored on each scene file dial.

7 Gamma modes are preset in Gamma menu.

NEWS Gamma is set as independent menu.

Setting NEWS gamma ON causes not selecting other gamma.

P2HDXAG-HPX500 PRACTICAL GUIDEBOOK

Variable Frame Rate-capable recording modes

Variable Frame Rate

Data capacity according to collection format

About the difference between Native (pN) and "over60p" Mode

When recording in native (pN) mode, it is possible to check data recorded at Variable Frame Rate (VFR), such as slow motion or quick motion, with camera output. Also, only valid frames are recorded, extending the recording time and allowing more data to be stored on the P2 card than is possible in normal mode. (See accompan ying tab le) Over60 = Varicam-compatible mode; VFR recording is possible, but the difference in pulldown systems makes it impossible to check the VFR with camera output. A frame rate converter such as hardware or NLE should be used.

About standard recording (over60)

As with Varicam, regardless of the camera's frame rate setting, recording will occur at 60 frames per second (over60). For example, when 24p mode is selected, 60 frames will be recorded with 2:3 pulldown. Thus, no matter what frame rate is selected, it is necessary to have the storage capacity for 60 frames, including duplicate frames. The advantages of standard recording are: output from the IEEE 1394 interface to DVCPRO HD is possible during recording, and when recording for extended periods, FS-100 data storage or DVCPRO HD tape storage in the AJ-HD1400, etc., is possible. For undercrank and overcrank shooting, as long as special effects are not required, shooting in native mode (30pN/25pN/24pN) is recommended in order to save space on the P2 card.

*To check variable frame when using 720p, a frame rate converter (hard device such as the AJ-FRC27, or similar software) is necessary.

About native recording

30pN/25pN/24pN are recording formats. The letter "N" indicates Native. In native mode, video data is recorded on the P2 card at the frame rate used by the camera. In this mode, it is possible to record on a P2 card for 2 to 2.5 times as long as in standard (30p/25p/24p) mode. Another major advantage of native mode is that it allows on-the-spot playback of variable frame data without a frame rate conver ter. After recording, it is possible to output to DVCPRO HD from the IEEE 1394 interface.

*Native recording is the recommended mode for chroma key synthesis.

Usage of native recording

720/24pN 720/30pN 720/25pN

Variable frame rate functions at the 720P setting when "OPERATION TYPE" is set to FILM CAM.

Commercials, music videos, CG synthesis, Blu-Ray/HD-DVD content, Web video, mobile-terminal video (progressive moving image), etc.

Data capacity for each recording type (DVCPRO HD)

Standard recording Native recording

Recording time for P2 card using VFR (16GB)

HD DVCPRO HD

*1 "24p" is recorded as 23.98p, "30p" as 29.97p, and "60p" / "60i" as 59.94p and 59.94i respectively. *2 Only valid frames will be recorded when in native mode.

*3 When using 8GB P2 cards or mini DV tape, the stated recording times are valid when using two P2 cards, or when using AY-DVM60, respectively. When one 8B card is used, recording time will be 1/2 of that shown.

1G=1 minute 1G=2 minutes (using 30pN/25pN) 1G=2.5 minutes (using 24pN)

Format *

720/60p 720/50p 720/24p(over 60p) 720/25p(over 60p) 720/30p(over 60p) 720/24pN(Native)* 720/25pN(Native)* 720/30pN(Native)*

Recording codec

Recording time*

(One card using)

16 minutes 64 minutes

40 minutes

32 minutes

Recording time

(Four card using)

160 minutes

128 minutes

Pre-shooting setup

Pre-shooting setup (1)

(*The contents of this section are intended for users who are not accustomed to working with professional video cameras.)

The camera design of the AG-HPX500 is a chassis design suitable for use by broadcasting professionals, and it may seem difficult to use for those accustomed to using the AG-HVX200. However, once an understanding of the essentials of setup and operation has been gained, shooting becomes easy for any user, including AG-HVX200 users.

Lens setup, battery setup, audio setup, etc.? Setup specifications for the professional-quality video camera

Lens setup

As the lens mount of the AG-HPX500 is a "B4 mount," the type generally found on video cameras for professional or broadcasting use, a wide variety of professional-quality lenses can be used. However, in order to obtain the benefits of the AG-HPX500's unique Chromatic Aberration Compensation (CAC) function and get the best color results, use of one of the maker-endorsed digital HD lenses (shown below) is recommended.

AG-HPX500

Canon (3 varieties)

KJ10ex4.5B IRSD PS12 KJ16ex7.7B IRSD PS12 KJ21ex7.6B IRSD PS12

Fujinon (2 varieties)

XA17x7.6BERM-M58B XA17x7.6BRM-M58B

*The above list shows compatible lens varieties as of Feb. 2007. The range of compatible lenses is expected to grow in the future. *2/3-inch mount-compatible HD cine-lenses such as Carl Zwiss Digiprimes may also be attached. *Note) It may be possible to use some high-performance SD lenses, but when using lenses other than those endorsed by the maker, please be aware that there is a risk of adverse effects such as vignetting (reduction of the image periphery) or color bleeding.

Things to keep in mind when using a 35mm film lens adapter with the AG-HPX500

*When shooting movies or commercials with a 35mm film camera lens, it is possible to shoot using a lens adapter, but please be sure to use an adapter for a 2/3-inch lens. (For example, when using a P + S Technik image conver ter, use a pro35 which is compatible with a B4 mount, rather than a mini35 such as is used with the AG-HVX200.)

*Also, in such a case, depending on the equipment, there is a possibility that the image will be recorded upside down. If this is occurring, one can inver t the LCD monitor while shooting, but it is impossible to invert the viewfinder or the HD-SDI output. It is necessary to flip the image using a nonlinear editing system.

P2HDXAG-HPX500 PRACTICAL GUIDEBOOK

Pre-shooting setup (2)

Battery setup

For the AG-HPX500 battery bracket, attachment of an Anton bracket (Gold Mount) for professional-quality batteries is standard. The battery menu also lists items made by other companies, and their compatible V-mount batteries (at the automatic default setting, 12 varieties are listed), so any professional-quality batteries in general use can be used. Also, the camera has full compatibility with info lithium batteries, so if one selects battery from the menu, the battery information (display of quantity remaining, etc.) will be returned via the viewfinder. (Note that the camera is not compatible with the small battery used in the AG-HVX200.)

Audio setup

With the AG-HPX500, a Canon connector (3-pin XLR) can be used for the audio input, and individual sounds can be matched independently, so separate audio strains can be input with 1/2ch. Phantom +48v power supply is also possible, so efficient mikes such as gun mikes can be directly connected. (*No slot-in wireless function)

Pre-shooting setup

AG-HPX500

Setup for shooting: Gain / Iris / WB

Lens, iris and image quality adjustment

The lens may be one of the most difficult parts of the camera to understand, but when compared with the AG-HVX200, the lack of auto-focus is the only substantial difference. Otherwise, it can be used in much the same way. The focus must be adjusted manually, but setting the focus in advance makes this easy. First, zoom in the object you want to shoot, rotate the focus ring adjust it, and then adjust zoom as you want.. Iris adjustment may be done automatically, but there is also an easy way to do it manually. Turn on the zebra pattern inside the VF (viewfinder), and then adjust the iris ring so that the zebra pattern does not appear on the object you wish to shoot (for example, on the skin of a person y ou are shooting.) The zebr a pattern setting (within Camera Setup) should be 100% (or 95%). The VF and LCD monitor of the AG-HPX500 do not respond to HD signals, so when capturing on a site where you require a more severe focus , use an SD connection to an e xternal monitor such as the optional 7.9 inch/multi-f ormat monitor in order to confirm that the image has HD picture quality.

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