PANASONIC UNVEILS PRICING AND SHIP DATE FOR ITS NEW
PROFESSIONAL AG-HMC150 AVCCAM HANDHELD CAMCORDER

Highly-Anticipated Pro AVCHD Handheld Available for Delivery Early October

SECAUCUS, NJ (July 31, 2008) – Panasonic announced today suggested list pricing and a ship date for its new AG-HMC150 professional handheld AVCCAM camcorder. Based on the proven design and advanced functionality of the highly popular DVX100, this new camcorder will offer both 1080 and 720 HD recording with solid-state SD memory card recording. With an exciting range of professional features, impressive picture quality and a sleek, compact design, the new AVCCAM handheld will be available on Thursday, October 2nd at a suggested list price of $3,995.

The HMC150 represents the next generation in affordable HD video production tools. The new handheld provides professionals and enthusiasts alike the flexibility of high-quality 1080/720 AVCHD recording at bit rates up to 24Mbps and a simple, solid-state SD memory card workflow. AVCHD, the industry’s new MPEG-4 / AVC Hi Profile compression format, provides a near doubling of bandwidth efficiency with improved video performance over the older MPEG-2 compression used in HDV formats. As a result, AVCHD recordings made by Panasonic AVCCAM camcorders are crisp and clear, even during fast motion, reducing image degradation or dropouts associated with HDV and other tape or disc-based systems.

“With features such as advanced, full 1920x1080 AVC Hi Profile HD recording, higher professional bit-rates, and an affordable and faster, solid-state SD card workflow, the HMC150 offers a state of the art professional handheld solution for those looking for the highest quality and flexibility at an affordable price,” said Robert Harris, Vice President, Marketing, Panasonic Broadcast. “The AG-HMC150 offers longer recording times and higher recording quality than is possible with current HDV formats.”

The HMC150 features 1/3” 16:9 progressive 3-CCD imagers that improve signal-to-noise ratio and deliver excellent low-light performance. It is equipped with a 13X Leica Dicomar zoom lens system offering an extra-wide 28mm* angle setting (the widest in its class). For stable, precise shooting in any situation, the AVCCAM camcorder features a cam-driven manual zoom ring, auto or manual operation of focus and iris, and optical image stabilization (O.I.S.). The HMC150 offers a host of selectable gamma tools including Cine-like gamma to produce warm film-like images, as well as helpful shooting functions such as a waveform monitor and a vectorscope display, focus assist and Dynamic Range Stretch (DRS).

The HMC150 records in a range of HD formats including 1080/24p, 1080/30p, 1080/60i, 720/24p, 720/30p and 720/60p. The handheld records stunning high definition in four recording modes – the highest quality PH mode (average 21 Mbps/max. 24 Mbps), HA mode (approx.17 Mbps), HG mode (approx.13 Mbps) and HE mode (approx. 6 Mbps). It captures full horizontal resolution 1920x1080 images at its PH, HA and HG recording modes. The camera can also be set to capture 1280x720 images in its PH mode. The recorded AVCHD files can also maintain metadata for individual recorded clips.

With the HMC150, videographers can capitalize on the cost advantages, reliability and widespread availability of SD and SDHC memory cards. Using just one 32GB SDHC memory card, users can record three hours of full pixel 1920x1080 video and audio at PH mode, four hours at HA mode and 5.3 hours at HG mode. In the HE mode, the camera can record up to 12 hours of 1440x1080 HD content – all on a single 32GB SDHC card.

The HMC150 comes standard with interface connections including HDMI out, USB 2.0, HD component out (mini D terminal), composite out as well as jacks to control zoom remotely, focus, iris and start/stop functions. Professional audio connections include XLR two-channel audio input (48V phantom power) with mic/line select, built-in stereo microphone, headphone out, manual two-channel audio level VR and RCA audio out jacks. The camera also offers a time/date stamp for legal depositions or surveillance, histogram display and time code/user bits. Other useful recording functions include pre-record, interval and shot marker, as well as new modes including last-clip delete and Rec check, which allows immediate review of the most-recently recorded clip.

Compact and lightweight, the 3.7-lb. handheld has an easy-to-grip design for balanced, stable shooting in a variety of environments. The camera has a color viewfinder and a 3.5-inch color LCD monitor that displays content in thumbnail images for quick viewing. Other valuable features include SMPTE time code generator/reader, three user buttons with 11 choices for customization, and a high-speed shutter (up to 1/2000 sec.)

For editing or playback, professionals can instantly transfer content from the HMC150 camcorder to Mac or PC computers with an SD/SDHC card reader or by connecting the camcorder directly via its USB 2.0 interface. Unlike HDV tapes, SD cards with AVCHD content can be inserted into and played back on a growing number of affordable playback devices including Blu-ray players (like Panasonic’s DMP-BD30), the Sony PlayStation 3, and some new Panasonic plasma displays, as well as computers with an SD card slot using applications that play AVCHD files. Using NLE software, content can also be edited and rendered in various formats and delivered on a wide range of media.

AVCHD is supported by wide range of editing options including Apple iMovie, Apple Final Cut Pro 6.0.1, Adobe Premier Pro CS3, Grass Valley Edius PRO v4.5, Pinnacle Studio Plus 11, Pinnacle Studio Ultimate 12, Nero7 Premium Reloaded, Ulead Video Studio 11 plus and DVD Movie Factory 6 Plus. In addition, a free transcoder, available for download from the Panasonic Broadcast web site, will convert AVCHD files to DVCPRO HD files for use with most existing professional editing packages.

Panasonic’s AVCCAM camcorder line-up brings the benefits of solid-state recording to budget-conscious professionals. Like digital still photography, recording onto SD/SDHC cards offers a fast and simple, file-based workflow with ultra-reliable performance and resistance to shock, vibration and extreme temperatures and weather. SD and SDHC memory cards are inexpensive, widely available and can be reused repeatedly. Since AVCHD records video as digital data files, content can be transferred and stored on affordable, high-capacity hard disk drives (HDD) and optical storage media and transferred to future storage media as technology advances. To backup Panasonic’s claim of solid-state reliability, the HMC150 comes with a three-year limited warranty upon registration. **

The HMC150 will be available on October 2nd, at a suggested list price of $3,995. Panasonic offers a wide section of SD and SDHC cards in 32GB, 16GB, 8GB, 4GB, 2GB and 1GB sizes.***

About Panasonic Broadcast

Panasonic Broadcast & Television Systems Co. is a leading supplier of broadcast and professional video products and systems. Panasonic Broadcast is a unit company of Panasonic Corporation of North America. The company is the North American headquarters of Matsushita Electric Industrial Co., Ltd. (NYSE: MC) of Japan, and the hub of its U.S. marketing, sales, service and R&D operations. For more information on Panasonic Broadcast products, access the company’s web site at www.panasonic.com/broadcast.

*35mm equivalent.

**The 3-year limited warranty includes Panasonic Broadcast’s normal 1-year basic warranty plus an extended warranty for years two and three. Register within 30 days after purchase.

***To record in the high-quality PH mode, an SD card specified at class 4 and higher is required.

Bring on the early adopters. I can't wait to see what this baby will do.
So theoretically the 720p @ 24mbps should be way less compressed than the 1080 @ 24mbps right?

Just crunching some numbers, in the highest quality setting of 24 mbps, you'd be looking at about 90 minutes on a 16 GB SDHC card, right? So, an 8 GB card, which costs roughly $25 right now, will get you about 45 minutes. That's getting close to the old videotape workflow of having your shooting media act as your archive copy. Interesting...

If my math is bad, someone please correct me!

I too am curious about 720p @ 24mbps being less compressed . Could this be the cams sweet spot?

To me, this unit sure comes close to the mythical "Best Value" camcorder that I've been waiting for!

Great features for less than $4k list, including 1/3" chips (should be great in low-light), and very affordable tapeless acquisition media (SDHC)!

If your NLE can handle AVCHD, this should be the one for you!

I think panasonic has a free AVCHD to .mxf conversion utility if your NLE will not handle AVCHD.

I'm with you guys. I'm really excited about this camera and hope it lives up to my expectations. I could care less about the fact that it shoots in AVCHD. I can always edit in some other format until NLE's catch up.

Someone mentioned $25 8gb cards. Are those class 4 cards?

Why not just buy better media. An 8GB Kingston SDHC Class 6 card goes for less than $35. Flash memory pays for itself pretty much right away, so what difference does $10 per card make?

How valuable is your data -- why trust it to the cheapest RAM? I'll take a slightly more expensive card with rave reviews over a cheap card with bad reviews any day.

@ Ethan - it's Class 4 or higher on the high end spec, so a class 6 card would be better, at least in theory.

@Chris - You can find better memory than Kingston. It's a well known brand, but it is often out-rated by Transcend, which is typically cheaper to boot. Since I like to keep ALL of my raw footage, this has been a major stumbling block for me in the adoption of a purely tapeless workflow. So, I'm intrigued by the possibility of buying these cards as I buy tape now - for one recording use only, and then, into the archive it goes and a fresh card for the next shoot is waiting.

@ Dwain - 1/3" is the smallest "professional" chips there are - which means they actually perform worse in low light than 1/2" or 2/3" cameras. I'm not saying this camera won't perform well in low light, just that it's working at a disadvantage to, say, the PMW-EX1.

The Transcend 8GB Class-6 SDHC card does get better user feedback at Newegg than the Kingston. Personally, I've never been very impressed by Kingston products on the whole.

@ Dwain - 1/3" is the smallest "professional" chips there are - which means they actually perform worse in low light than 1/2" or 2/3" cameras. I'm not saying this camera won't perform well in low light, just that it's working at a disadvantage to, say, the PMW-EX1.
To some people, the lighter weight of the HMC150 compared to the EX1 may be more important than bigger chips especially if they shoot mostly in situations that have plenty of lighting. If you’re not strong enough or you don’t use any support mechanisms, your footage can be almost useless with a lot of shakes. It’s a different story if you’re comparing the HMC150 to the EX3. The cost between the HMC150 and the EX1 is another important factor.

Paulo points out one of the advantages of the HMC-150 over say the EX1 - it is lighter.

I'm going to embark on my first micro-budget digital feature at the end of this year (tiny personal project but about one and three quarter hours) and that is a factor for me. Acquisition choices are few in this price bracket and decisions are not easy - everything is a compromise. I do not want to go down the HDV route though I know people have successfully created movies on this format (and SNUB! a feature film has just been created using EX1s over here in the UK).

However, the idea of having a small wallet full of relatively inexpensive SDHC cards (against the price of one or two small capacity SxS cards) is very tempting so that is another big consideration.

So, has anyone used SDHC acquired footage to create more than a just few minute's worth of layered edited movie, or are we still in the realms of mere 'possibility' with the HMC-150 (and its AVCHD format) for lengthier projects?

In theory the 150 camera "provides a near doubling of bandwidth efficiency with improved video performance over the older MPEG-2 compression used in HDV formats. As a result, AVCHD recordings made by Panasonic AVCCAM camcorders are crisp and clear, even during fast motion" this is another plus - if it is true.

Can anyone explain that 'doubling' and the implication it has for a camcorder with small sensors ( although of course it has three of them)?

Regards

Paul

So how does this compare to the HVX200? Is it what the GL2 is to the XL2?

If the AVCHD encoder in the HMC150 holds up to motion better than HDV while using more affordable memory than P2 or SxS, that should be a useful cmbination for those who want solid state recording on a tight budget. It's not a full competitor to the EX1 with it's larger sensor, better depth of field and higher resolution, but it will compete with the HVX200, Canon XH-A1, Sony V1U, JVC HD110U and so on.

I wouldn't think most people would archive footage permanently on SD cards at ~$25-50/hour, but you could at least keep a few projects that way without the pressure to erase them immediately as with more expensive memory. Sounds like Panasonic may have a winner on their hands with this camera, if it lives up to expectations.

What I mean is, you have already a solid state HD camera from Panasonic, in a similar price class. So, aside from the much cheaper SD cards and the $4000 price tag vs the HVX's $6000 (or so I thought), what are the differences? Just seems odd.

Josh,

You said it yourself!: "much cheaper SD cards and the $4000 price tag."

If money wasn't an issue, I'd have bought an HVX200 or a Sony EX1 months ago!

Let me rephrase, then:

if this camera comes out, what's to keep people buying HVXs?

I think we are looking at 2 very different class of buyers for the cameras here, the HVX-200[a] and the HPX-170 are going to be about $1,500 to $2,000 more than the price of the HMC-150. (Some have suggested the street price could be as low as $3,495.)

In addition the memory cards cost more for the HVX-200[a] and the HPX-170. A 32GB P2 card lists at $1,650 (about $52 per minute at the maximum data rate). In contrast, a 16 GB SDHC Class 6 card costs $230 (about $2.56 per minute). Both prices come from the Panasonic WEB pages and are list prices.

So to have enough capacity to record 90 minutes, the HVX-200[a] and the HPX-170 require 3 P2 32GB cards @1,650 each = $4,950. The HMC-150 requires one 16GB SDHC for $230. So, counting the cost of the camera and memory card(s), the HVX-200[a] and the HPX-170 would be about $6,000 to $8,000 more than the HMC-150.

However, there are more features and the editing is easier with the HVX-200[a] and the HPX-170.

When you take into account the total costs, camera plus memory, these cameras fall into 2 very different price points


Bob Diaz

Now THAT's an excellent question! I can definitely see the HMC150 "cannibalizing" sales of the HVX200.

I am convinced however, that if it meets expectations, the HMC150 will be a seminal model for Panasonic (and the camcorder industry), and they will sell enough of them to easily justify HVX200 lost sales.

Ah! So it's a feature thing, mostly.

I think the HVX200 still has a place because DVCPROHD is still higher quality than AVCHD. Granted this is a great camera for budget minded DVX100 owners who want to step up to HD but can't afford a full blown HVX200 and the P2 workflow it entails. This camera could be a monster hit...

Noah

I look at the HMC150 as being positioned as a stepping stone camera to the HPX 170 and HVX200a which are more feature rich and use a more robust codec. It might be that the AVC-HD implementation on the HMC150 will be high enough quality for many of us. For me it is simply cost vs. image quality decision and I can afford the sd card storage format rather than dumping P2 cards to a storage device in the field. This looks like it could be another real winner for Panasonic. I can't wait to see examples of how AVC-HD holds up to transcoding to DVCPRO-HD and then edit on CS3. If the transcoding is solid then all the issues associated with editing AVC-HD are moot. Might not even need another computer upgrade.

I'm thinking the HMC150 is the HD step up for the aging DVX-100, aimed at those who do not require extensive post efx, due to it's 4:2:0 and long GOP structure. Presumably low budget documentarians, micro/no budget indie filmmakers, others w/o the means to afford HVX200's or Ex-1's.

Panasonic is clearly pushing users to convert pre-edit to DVCPro100 , while Apple is pushing ProRes422. But even w/conversion to intra-frame, the color depth is still based on 4:2:0.

Pana are releasing a DVD prior to shipping, and it will demo the quality of chroma-key possible. Personally, I think the price point, probably mid-$3k range, will assure it a place in the hall of fame, esp. w/all the features it shares w/170.

If the transcoding is solid then all the issues associated with editing AVC-HD are moot. Might not even need another computer upgrade.

My only question would be how long it will take to transcode 1 hour of footage to the dvcpro codec on a midrange dualcore pc, one of the advantages of using a memory card to film on was increased transfer speeds to your pc but now you get to transfer and hope the convertion process time won't take longer then 1:1

What I am hearing on other forums is 1:1 transfer speed. But I guess we will just have to wait and see.

Here is a little information about the transcoder. It was developed by Mainconcept.
http://www.mainconcept.com/site/news-9/2007-21799/panasonic-21184.html?L=17970

Once the 150 and the 170 come out, it should prove interesting to compare the 2 cameras. Both cameras use the same CCD and the same lens. The only difference is the 150 users SDHC and the 170 uses P2.

I''d love to see the videos played side by side....

The 170 offers overcranking, undercranking, single frame, and time lapse. Wile the 150 does not offer these features. Still, the 150 offers all the standard HD modes, so for low budget shooters, the 150 should prove to be within their reach.

Bob Diaz

Does the 170 do AVCIntra?

Does the 170 do AVCIntra?

Sadly, no... It does do DVCPRO-HD.


Bob Diaz

I noticed that there is no mention of Standard Definition (SD) recording in discussions (and information) regarding the HMC150.

Have we (finally) turned the corner with SD? Is the output from a NLE system now generally accepted to be the preferred (if not exclusive) way to provide SD video to a client?

I noticed that there is no mention of Standard Definition (SD) recording in discussions (and information) regarding the HMC150.

I'm not aware of any AVCHD-branded camcorder that has the ability to record SD... anyone?

Right as usual, Chris. You gave a very specific answer to my general question.
The point I wanted to make was that the industry has shifted away from even offering SD recording with HD camcorders, regardless of acquisition media.

I'm not aware of any AVCHD-branded camcorder that has the ability to record SD... anyone?

All the Sony AVCHD record SD with max at 9Mbps.

Ron Evans

All the Sony AVCHD record SD with max at 9Mbps.See I wasn't even aware of that. It annoys me a bit that Canon and Panasonic don't bother to include SD recording capability in their AVCHD product line. As Dwain suggests, it seems as if they're not perceiving a need for it.

I know it's only a preliminary brochure but why would they even add this statement in there? "Using low-cost, readily available SD/SDHC memory cards as its media, the AG-HMC150 captures HD recordings that approach broadcast quality."

http://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=274232&catGroupId=112502&surfModel=AG-HMC150

They could have left the part about the near broadcast quality off. Just my opinion.
I'm looking forward to checking this camera out.

The funny thing is there is no standard for "Broadcast Quality".


Bob Diaz

http://www.bhphotovideo.com/bnh/controller/home?ci=0&shs=AG-HMC150&sb=ps&pn=1&sq=desc&InitialSearch=yes&O=jsp%2FRootPage.jsp&A=search&Q=*&bhs=t&Go.x=15&Go.y=14

B&H has it for $3,495.00. Good price. They probably said near broadcast quality in order to position it below the 170. I'm somewhat interested in this camera, but like a lot of people I'm worried about the workflow. For Avid I would have to convert to DVCPro HD and I'm not sure how much time that would take.

If Pana says it is not broadcast quality, I guess they know what they say. (even if we dont like them saying it).

"approach"

The word that caused ripples throughout the video professional forum threads...

Seriously, I'm with the above poster who attributes this label as simple product line positioning. What would happen to HPX/HVX sales if Panasonic were to come out shouting, "No more bothersome overpriced P2 cards, our new AVCHD model is just as good and cheaper too!!"

Anyone know what the chip resolution on this cam is? 1920x1080? Or is there some pixel-shifting mumbo jumbo going on?

So I guess what it boils down to is "wait and see?" Just like with the Scarlett.

Anyone know what the chip resolution on this cam is? 1920x1080? Or is there some pixel-shifting mumbo jumbo going on?

I don't wanna start a fight here, but pixel shifted or not didn't the HXV200 produce a darn nice image when compared to other cameras in it's class? Sometimes I think we get too caught up in technical specs and forget to just look at the end result of all the hocus pocus that happens in camera. Panasonic tends to put out cameras in this range that produce very nice images, why should we think that trend will change any time soon?

...is there some pixel-shifting mumbo jumbo going on?Pixel Shift isn't mumbo-jumbo. With only a couple of very rare exceptions, it's used in nearly *every* three-chip camera system ever made, and with good reason too. Pixel Shift is very real, and it's a very good thing to have. To deny that is to remain woefully ignorant about how these cameras work.

Pixel counting aside, these Panasonic CCDs produce a beautiful Cine-like gamma, nicer than anything at the price point. The EX1/3 may be sharper but sharpness has its downsides too. I'm willing to take my lumps editing and be one of the early adopters at this price point! The editing will work out eventually, although transcoding would overshadow all that time saved not digitizing. Maybe faster Mac Pros will be around soon, or can they edit native already?

I admit it. I am "woefully ignorant" about this kind of technology. And maybe I myself am confused between "pixel shifting" and "pixel interpolation."

But, in nearly every discussion I've followed on pixel shift and similar technologies -- including on this board, and including some very knowledgeable people -- there seems to be little or no consensus as to WHAT pixel shifting is, let alone whether or not it's a good thing to have.

Here's an example:
http://www.dvinfo.net/conf/showthread.php?t=122154&highlight=Adam+Wilt

and another:
http://www.dvinfo.net/conf/showthread.php?p=897608&highlight=pixel+shift#post897608

If Adam Wilt and Steve Mullen can't agree on how many pixels a camera like the Z7 actually has, clearly this technology is NOT well understood. Couple that with some aggressive marketing from some manufacturers that poo-poos the whole concept, and you can see why the whole thing has a kind of "magic black box/Voodoo" feel to it. Which is why I used the term "mumbo jumbo." I may have used a poor choice of words. Sorry if I offended.

I am certainly willing to be enlightened. It seems intuitively obvious to me that a chip with a pixel resolution that matches the resolution of the image you are trying to create should have an easier time of it than one that has to jump through some electronic hoops and interpolation to do so. It seems that if you want a 1920x1080 image, having a 1920x1080 chip will make your life much easier than having a 960x540 chip. Is that not true?

Why is pixel shifting desirable?

Why is pixel shifting desirable?

Like far too many things in life, I'd imagine it's an economic trade off. Three 900ish x 600ish chips must cost a good deal less than three 1920ish x 1080ish ones.

I'm not aware of any AVCHD-branded camcorder that has the ability to record SD... anyone?

Although an SD capable camera was already mentioned, the AVCHD Information website has specs for the format here:

http://www.avchd-info.org/format/index.html

Interesting to observe that the 1080/720 signals all look to record with AC3-compressed 5.1 Dolby Digital audio, while the 480/576 signals get 7.1 Linear PCM. Am I reading this chart right?

I'm a little surprised 480/60p isn't part of the spec.

If I ever need to get SD say for a quick-turn event I'd just haul my DSR-11 deck along and roll DVcam, or maybe even haul along the trusted Panny DMR-ES20 DVD recorder

Another question: Does the HMC150 output live video to all ports at once: HDMI, mini-D component, and composite?

My setup would benefit from this because I have a 12" focus check LCD monitor that runs off of HDMI, a Sony PHM-14M8U HD CRT client viewing monitor that takes HD component, and then the DSR-11 to record SD from the composite. So I could use all three outputs simultaneously in some shooting situations.

There's been some discussion about NTSC/PAL upgrades on the HPX-170, but I've not heard anything about this for the HMC-150. Does anyone have any information on this? Also, I imagine the "upgrade" is just a matter of activating some "hidden" functionality that's already on the camera, or is it actually a matter of physically adding an ASIC or some circuitry? If I'm right, then surely it's possible the procedure will leak onto the Internet, enabling anyone to upgrade their camera?