Panasonic P2HDXAG-HPX502, P2HDXAG-HPX500, P2HD AG-HPX502 Manual Book
P2HD
X
AG-HPX502
PRACTICAL GUIDEBOOK
The Next Generation of camcorder media is aimed at the professional market where with its use of Information
Technology (IT) centric technologies including Solid State Recording, Hard Disk drives (HDD) and Blu-ray discs(BD)
is proving to enhance the post-production workflow greatly. The main advantage in the IT domain is that the
recording does not need to be digitized; meaning that it is ready for immediate use in non-linear editing (NLE)
systems. Whereas HDD and BD choices both require specialized input devices (docking stations or dedicated
drives), the solid-state recording system, P2 (Professional Plug-in), proposed by Panasonic provides the benefits of
durability, portability and freedom from mechanical issues. This concept of no moving parts gives it numerous
advantages over other media as a recording system for professionals because other systems can be impacted by
the environment; P2 is robust in any environmental condition.
In recent years, a key issue for all production has been insuring that their recording media works smoothly with their
PC systems. P2 integrates almost seamlessly into PC and Mac systems alike. The recordings show up as files in
the import windows and thus easily brought in a placed on a timeline. Panasonic's P2 cards offer an extremely
convenient and efficient media system in comparison with other non-contact media as the files can be quickly
accessed dynamically worked with either in the camera or on the desk-top.
The 16 GB P2 card will hold approximately 16 minutes of High Definition 1080i signals using the DVCPRO HD
codec, which was designed from the ground up for high end professional use.
In the 24P Native mode of recording in 720P the 16GB card will hold around 40 minutes. When we consider the
prospect for future development and the future of the SD memory cards that provide the basic technology for P2
cards, it is obvious that record times will only become longer and longer. 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 continue to decline.
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-HPX502 camcorder since that model is equipped with 4 slots. Even on the
smaller camera, the AG-HVX202, it will be possible to record 1 hour of HD video, recording 32 GB in each of its 2
slots.
While other media provides only one means of access, the P2 system provides a Hot Swap function that allows
cards to be removed and a fresh card inserted for sequential recording. This means that 2 or more P2 cards can be
used to record indefinitely without disrupting the interview. This also means that once you have time to review the
last round of takes and it is determined that the first of those can be deleted as it is really unusable, it can be deleted
easily and the time reclaimed for more viable footage.
The future is certainly bright for the P2 card system as it surely will become the media of choice due to its ease of
use, the accessibility of the footage and the immediacy of the data to archive. It is in the archive that the system
really shines as the cost per minute for storage is not only less expensive than video tape, but due to its data-nature
can be reused without digitizing.
This guidebook is intended for AG-HVX202 users or for those who are running tape media operations (DVCPRO,
DVCAM, DV, etc.) and are considering what it might be like to move to a file based domain. It provides
straightforward descriptions of the processes and settings for a basic recording and editing systems that are capable
of creating and handling HD productions using the AG-HPX502 and the P2 card system.
P2HD
X
AG-HPX502
PRACTICAL GUIDEBOOK
Contents
P3_4
P5_6
P7_8
P9_10
P11_12
P13_14
P15_16
P17_18
P19_20
P21_22
P23_24
P25_26
P27_28
P29_30
1 AG-HPX502 Basic Setting for Aquisition
2 AG-HPX502 Recording codec and format
3
Variable Frame Rate Data capacity according to collection format / AG-HPX502 Pre-shooting setup
4 AG-HPX502 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
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-HPX502 List of Terms
Shooting Procedure
1
AG-HPX502
Basic Setting for Aquisition
3
CAMERA MENU
OTHER FUNCTIONS
SYS MODE
Select system mode.
Select 59.94Hz or 50Hz
Power OFF, and then Re-start
CAMERA MENU
SCENE FILE
OPERETION TYPE
Select VIDEOCAM mode or FILMCAM mode.
*See page 11 for storing scene file.
CAMERA MENU
RECORDING SETUP
REC FORMAT
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-HPX502, 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.
(3) Recording format
= SCENE FILE setting
VIDEOCAM mode and FILMCAM mode
*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)
<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
AG-HPX502 has VIDEOCAM mode and FILMCAM mode.
Each mode has some exclusive functions against another mode.
P2HDXAG-HPX502
PRACTICAL GUIDEBOOK
4
Shutter speed guide
• Shutter speed (default)
60i.60p mode
30p mode
24p/24pA mode
50i.50p mode
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
• Shutter speed (variable)
60i mode
30p mode
24p.24pA mode
50i.50p mode
25p mode
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
• Shutter speed (slow)
60i.60p mode
1/30 30p mode
24p.24pA mode
50i.50p mode
1/25 25p mode
1/15
1/15
1/12
1/12
1/12
(4) Gamma Setting (Eight-Mode Gamma)
AG-HPX502 Gamma Modes
Drawing on technologies developed for the VariCam, Panasonic has
equipped the AG-HPX502 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.
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.
Minimizes washout to faithfully capture all visual
information especially in the highlights
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
NEWS:
HD NORM:
LOW:
SD NORM:
HIGH:
B.PRESS:
CINE-LIKE_D:
CINE-LIKE_V:
7 Gamma modes are preset in Gamma menu.
NEWS Gamma is set as independent menu.
Setting NEWS gamma ON causes not
selecting other gamma.
Recording codec and format
2
AG-HPX502
Recording codec and format
P2HDXAG-HPX502
PRACTICAL GUIDEBOOK
5
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)*
2
720/30pN(Native)*
2
1080/50i
1080/25p(over 50i)
720/50p
720/25p(over 50p)
720/25pN(Native)*
2
480/60i
480/24p(over 60i)
480/24pA(over 60i)
480/30p(over 60i)
576/50i
576/25p(over 50i)
Image format
*1
HD 60Hz
DVCPRO HD
64 minutes
160 minutes
128 minutes
64 minutes
128 minutes
128 minutes(DVCPRO 50)
256 minutes(DVCPRO/DV)
HD 50Hz
SD 60Hz
SD 50Hz
Recording time
*3
Recording codec
*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.
Setting at SD
Setting at HD
Operation of the P2 system begins with deciding what to shoot, and how to shoot it (tone, recording format).
AG-HPX502 recording codec
Image formats and codecs supported by the AG-HPX502
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.
Like the AG-HVX202, the AG-HPX502 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.
6
1080/60i, 50i
1080/24pA(over 60i)
1080/24p(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.
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.
•Movies for theatrical release, etc.
Also known as normal 2:3 pull-down recording.
•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.]
720/24 p(over 60p)
Checking the format
(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
(1) (2) (3) (4)
Variable Frame Rate-capable recording modes
3
Variable Frame Rate
Data capacity according to
collection format
P2HDXAG-HPX502
PRACTICAL GUIDEBOOK
7
720/24pN
720/30pN
720/25pN
Commercials, music videos, CG synthesis, Blu-Ray/HD-DVD content,
Web video, mobile-terminal video (progressive moving image), etc.
*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.
When recording in native (pN) mode, it is possible to chec k 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 camer a output. A frame rate converter such as hardware or NLE should be used.
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.
About standard recording (over60)
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 converter. After recording, it is possible to output to DVCPRO HD from the
IEEE 1394 interface.
About native recording
*To check variable frame when using 720p, a frame rate converter (hard device such as the AJ-FRC27, or similar software) is necessary.
*Native recording is the recommended mode for chroma key synthesis.
About the difference between Native (pN) and "over60p" Mode
Usage of native recording
Data capacity for each recording type (DVCPRO HD)
Standard recording
Native recording
1G=1 minute
1G=2 minutes (using 30pN/25pN)
1G=2.5 minutes (using 24pN)
Recording time for P2 card using VFR (16GB)
Variable frame rate functions at the 720P setting when "OPERATION TYPE" is set to FILM CAM.
720/60p
720/50p
720/24p(over 60p)
720/25p(over 60p)
720/30p(over 60p)
720/24pN(Native)*
2
720/25pN(Native)*
2
720/30pN(Native)*
2
HD DVCPRO HD
16 minutes 64 minutes
40 minutes
32 minutes
160 minutes
128 minutes
Format *
1
Recording codec
Recording time*
3
(One card using)
Recording time
(Four card using)
Pre-shooting setup (1)
4
AG-HPX502
Pre-shooting setup
8
(*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-HPX502 is a chassis design suitable for use by broadcasting professionals, and it may
seem difficult to use for those accustomed to using the AG-HVX202. However, once an understanding of the essentials
of setup and operation has been gained, shooting becomes easy for any user, including AG-HVX202 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-HPX502 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-HPX502'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.
*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 converter, use a pro35 which is compatible with a B4 mount,
rather than a mini35 such as is used with the AG-HVX202.)
*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 invert 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.
Canon (4 varieties)
KJ10ex4.5B IRSD PS12
KJ16ex7.7B IRSD PS12
KJ16ex7.7B KRSD PS12
KJ21ex7.6B IRSD PS12
Fujinon (2 varieties)
XA17x7.6BERM-M58B
XA17x7.6BRM-M58B
*The above list shows compatible lens varieties as of May, 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-HPX502
Typical scene where the aberration would be a problem A close-up of the problem The CAC working
Chromatic Aberration Compensation (CAC) function
There is 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 Chromatic Aberration Compensation. 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. Take a look at the simulated pictures below. The reason they are simulated is that you cannot turn the
function on or off with the same lens so these
pictures are taken with different lenses one that
has the capability and one that does not. 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.
Pre-shooting setup (2)
4
AG-HPX502
Pre-shooting setup
P2HDXAG-HPX502
PRACTICAL GUIDEBOOK
9
Battery setup
For the AG-HPX502 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-HVX202.)
Audio setup
Another very useful feature on AG-HPX502 is the four independent
audio channels. 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.
(*No slot-in wireless function)
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-HVX202, 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 z ebra pattern setting (within Camera Setup) should be 100% (or
95%). The VF and LCD monitor of the AG-HPX502 do not respond to HD signals, so when capturing on a site where you
require a more severe f ocus, 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.
Setup for shooting: Gain / Iris / WB
Back end of camera with two line inputsControl panel inside LCD area Front side of camera, 2 inputs
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