http://66.78.26.17/~reli/24P/index.html

Hello All,

I've also been working with Chris to post a number of DV clips - all told about 190MB - that correspond to the frame grabs I had put up previously: http://homepage.mac.com/crf1973/dvx100

They should be coming online soon, but in light of the traffic the clips posted this morning brought on, I was hoping to preemptively solicit anybody interested in mirroring any of the clips on their servers?

If interested please let Chris or myself know.

Thanks,
Clayton

email_claytonfarr@hotmail.com (remove 'email_')

I have a JVC GY-DV500. I'm frothing at the mouth over the DVX100 and trying to decide if I can afford to buy one outright or if I'll have to consider selling the JVC.

What am I giving up on the JVC by switiching cameras? Obviously the chip size, but how big a visual hit is that? Any opinions?

What else justifies the retail price differential of the JVC?

I'd love to hear informed opinions on this one...

Thanks in advance...
Love the bords...

Michael

Hello All,

Thanks to the generosity, time, and bandwidth of Chris and Jeff here are some more clips from the camera (preproduction unit seen last month) - 24p standard, 24p advanced, 30p, and 60i:

http://www.dvinfo.net/panasonic/reports/farr

Not as pretty as birds on the beach, but at least something more to add to the mix. ;)

Best,
Clayton

BTW - Also, if anyone can still help with mirroring these to lighten the load, please pass it along to Chris, Jeff, or myself.

email_claytonfarr@hotmail.com (remove 'email_')

Anyone find better prices than B&H for batteries? B&H is out of stock of the highest capacity batteries anyway...

How does the "marker" function work on the DVX100? What do those percentages mean that are displayed? How should they be used for setting exposure on this camera? Thanks.

Don't know if this has been mentioned on here, but I recently saw a children's McDonald's commercial on TV that had a DVX-100 in the shots.

Ronald and some children are in front of a video store dancing in front of a camera on a tripod which happens to be the DVX-100. It switches between shots of them on the video monitors and a slow zooming shot from behind the DVX-100 into Ronald and the dancing children.

I'm sure that they used a different "Pana" camera to shoot the commercial, but it was interesting seeing the DVX-100 featured there... =)

Just got the link from the other forum, maybe some of you know it already but for those who dont know

http://www.lafcpug.org/review_dvx_pd150.html

DVX100 is specified with an impressive F11/2000lux sensitivty figure. I never saw this (and don't believe this) with am 1/3"CCD camera. Did somebody verify this? And what is then the S/N figure for this cam?

I sold my trusty MX300 as to upgrade to the MX500. Went down to my local store {TasmanAV in Melbourne} and compared the MX350 {which is heavilly discounted in an effort to sell back stock} and the MX500. After viewing both images on a studio monitor I have the following to report.

1. The MX500 having a 1/6 Chip is darker under low light with both cams @ max apertaure and no gain. Under studio light I could tell no difference between the two images. Although the Sales rep was trying to tell me the MX350 looked slightly better, ie. so he could get rid of MX350 stock.

2. The MX350 having 12X gets alot closer than the MX500's zoom.

3. Impressed with the MX500 true 16:9 image when compared to the MX350 16:9 - it looks sharper, as I expected.

4. I was very lucky in that I was able to see unoffically the new AG-DVX100. It is not yet released in Australia untill march/april. Strangly it was a NTSC and not a PAL model {Pal cam will be 25P and not 24P}. I was able to compare the MX500 with the DVX100 - the MX500 was blown out of the water!!! The image looked like it had originated from a studio camera used by the big TV networks. Again strangly the 30i looked sharper than the 24p. The 24p looked very strobe like, with a definite flicker. This might have been the result of the monitor [however it was NTSC/PAL compatible].

5. I was told by the rep that the DVX100 will be the Canon/SonyDV/DVCAM killer, as in their opinion it has the better image of all 3CCD camers in this range, including the cannon XL1s, sony PDX10p.

6. One very strange observation of the DVX100 is that a camera of this expense [will be approx. $8,000 Australian} does not have true 16:9. It only does black bars top & bottom!!!!!!! It does not even stretch the image like the MX300/MX350 !!!!!! This is either a major oversite or it's to prevent Panasonic being hurt in reduced sales of it's more expensive broadcast cameras. Because if the DVX100 had true 16:9 {like the MX500}, then why would you want to spend anymore money?

NB, the MX350/MX500/DVX100 were two at a time hooked up to a switcher box and pointed at the same image and then switched back and forth for comparison. All were set on auto exposure/white-balance/focus .

Note: a new review of the UK NV-MX500B can be seen at the following:

http://reviews.zdnet.co.uk/review/11/14/2428.html

Can anyone recommend some settings that will optimize the DVX100 for low light situations? I just recently shot footage of a band playing in a dark club, and with the iris fully open, the picture quality was not bad. Still, I was wondering if there were any secret settings that would make the image better? There are a lot of image adjustment options in the DVX100 that I don't fully understand yet. Will setting the gamma on "high" improve detail in the darks? Should I always keep the shutter speed low when shooting in low light?

Hey Pan users,

I've purchased a GL2 and am regretting it somewhat as the controls for Iris (aperature) and shutter are controlled by the same dial. This arrangement has been problematic for me as I'm used to the seperate control layout of the XL1S (which worked perfectly)...my problem is that I'd prefer to shoot in Manual mode but would like to be able to change Iris and Shutter settings on the fly while rolling video- is this possible with the DVX?

My GL2 is only 2 days old and I can return it back to B&H and put in the cash difference for the Panasonic.....I'm very happy with the video quality of the GL2- just not the control setup......can anyone here confirm, Shutter and Aperature (Iris) can be controlled simulataneously on the DVX with different knobs?

If so- i'll have one tomorrow.......thanks guys.

Mack offers a warranty on the PAL version, for those looking to import the PAL version to the USA. I asked them for a price quote.

I'm finally getting ready to buy, finally!!! And I want the PAL version for a variety of reasons.

Sony announced it will show at NAB both a new recording media and a new digital format. The optical media consists of a 12-centimeter (5-inch) rewritable disc in a protective cartridge. Blue laser technology for recording and playback allows much higher-recording capacity and bandwidth than possible from red laser. The optical system will offer the choice of recording video with the DVCAM codec at 25Mbps or the MPEG-2, IMX codec at 30, 40 or 50Mbps. A single disc holds 90-minutes of DVCAM material -- or 45-minutes of MPEG IMX material recorded at 50Mbps, 55-minutes at 40Mbps, and 75-minutes at 30Mbps.

The new optical system records both a high-resolution original, and a frame-accurate, low-resolution, MPEG-4 version called a proxy. Using the optical camcorder itself, you'll be able to mark "good" shots using a picture-stamp storyboard displayed on the camcorder's LCD monitor and play them back seamlessly. From the camcorder, users will be able to transfer the proxy information to laptop editors or back to the studio at up to 30 times faster-than-real-time.

Sony's two new optical camcorders capture high-quality pictures with three 2/3-inch EX HAD image sensors and 12-bit analog-to-digital converters. Features include loop/interval recording using a built-in cache memory. Further information on these camcorders will be released at NAB.

Here's a small .avi file I made from a clip with dvx100 while driving around town. You need divx (www.divx.com) codec to watch it. It's highly compressed, but it's deinterlaced and runs at 23.976 fps with 3:2 pulldown removed. Used virtualdub to encode.

http://www.tentimesnothing.com/tentimes/street2.avi

Has anyone made any successful attempts using the focus numbers in the VF to pull off rack focus? I am wondering if the servo controlled focus enables the lens to come back to the same spot once the ring has been turned. I am about to buy this cam so the last thing I want to check on is the focus. I am not crazy about the servo focus but if it really works then that is good enough for me. I am also curious about critical focus. Can you zoom all the way in, focus then zoom out to frame the shot and the lens stays where it is supposed to--not drift (i.e. XL1 focus going soft at wide angle)?

Thanks,

Will Boggs
DustBowl Productions

hi buds!
Panasonic has released a new model in my country, model is DVC180. I knew the model same as DVX100 in U.S and other area. But I found a big different that DVC180 is 25P but ain't 24P.

I guess the different bucause broadcast system, PAL system is 50i, so use to our area model need some change... but I don't know what different at 25P mode than 24P, please tell me, THX!

PAL DVX 100 are being sold in some European places... are you happy with a PAL unit? is it the same as an NTSC ? (except the 24/25p and resolution issues)

How much does it cost?

Thanks a lot

globalmedia pro e.shop, based in london, offer the pal version for 3142.00$
anyone experienced / know anything about them??

https://www.globalmediapro.com/av/index.cgi?topic=panasdvcam&action=readmore&item=31161

What settings do you have in 25p cine mode? (in order, please). I found very good to have the chroma at +4 or +5.

Why does it recomend to have the iris at -1? ANd the master ped at -3?

This is what i have now:
detail level +1
chroma level +5
chroma phase 0
color temp 0
masetr ped 0
a iris level -1
gamma cine-like
skin tone On
matrix Cine like
detail thick


I still don´t understand too much the difference of Gamm (well, cine-like certainly does not have too much contrast, but at low or norm, colors appear much better) and matrix (i do not know what it does, no idea, and where to use different modes).

Thanks for your answers

So have you been able to improve the image quality on a standard PAL monitor yet? I noticed that you were disappointed with the DVX100E when you first got it, because you said the computer image was nice, but that the standard monitor image wasn’t.

Just wanted to say hi...I just bought two pannies for a little show I'm getting together...I'm a Cinematographer in Miami and I must say I'm really impressed with these little things...I didn't think tape would look this good in my lifetime...I did a search for a follow focus and I was wondering if anyone owns the Cavision on here...They have one for a great price but I was looking for some real world feedback...Thanks!!!

Do you think it would be possible for any of you guys to post some screen captures of the difference with the .07x adaptor and the normal on baord lens. Thanks in advance guys.

Should be available on Monday:

http://biz.yahoo.com/bw/030404/45170_1.html

:)

http://owyheesound.com/Motion_Pictures/DV-SCOPE/dv-scope.html

Anybody seen this or tried it? How well did it work? Bausch & Lomb cinemascope projector lenses sell on ebay for about $25....

Hi all,

I was wondering if any of the proud owners of DVX100 knew how to adjust the volume of the headphone when monitoring recording audio levels?

The default level seems to be ted too low for accurate judement for audio levels.

Any help or direction would be appreciated. Thanks!

Hi forum,
I read somewhere that the colors (not to mention the 24p feature) should be amazing on the DVX100 compared to the XL1S (NTSC I assume).
But I wonder what the differences would be if you compared the DVX100 to the XL1S PAL. Anyone?

Saw this over at 2-pop:

Here's how to access the hidden diagnostic menu in the AG-DVX100:

Simultaneously press and hold the AudioDub button and the Rewind button, then press Menu. It'll bring up the regular menu and you'll see there are two new menus, #8 and #9.

CAUTION IS ADVISED. These menus are probably best used by someone who knows what the heck they're doing, and you can probably mess up your camera if you don't know what you're doing!

Very interesting. Thanks to ICExpo for the post. Perhaps Steve Mullen could say some things about these menus (other than avoid them, which I'm going to do anyway until more is determined).

I tested my good old GL-1 side by side with the DVX100. We shot the Canon how I usually rig it: in frame mode, auto white balance and a Tiffen polarizer with a warming filter with manual exposure, keeping the shutter at 1/60th. We shot the Panasonic in 30P with default gamma and 24P with cinegamma, without filters. Both progressive modes on the DVX 100 looked significantly better than the Canon. We shot around 3 p.m. on the coast of Santa Cruz, CA. One scene was surfers catching waves. The GL-1 couldn't capture the contrast range. Once the waves got white and frothy, the highlights blew out completely. The DVX 100 was able to hold on to the highlights and dark water. In another instance, in order to properly expose for the surfers' faces, the Canon lost the detail in their dark wet-suits. Again the DVX 100 was able to hold both. I love the GL-1 frame mode, but it looked uncomfortably soft side by side with the DVX footage. Both had the "film-like" look, but the Canon was soft. Overall, I preferred the color rendition of the Canon compared to the DVX in default gamma, which I perceived as bluish/neutral (of course I did have a warming filter on the GL-1!). However, I loved the look of the DVX cinegamma. Also, I didn't care for the look of 24P on the waves. I definitely noticed the stroby look, but it 30P, it looked lovely. If I bought a DVX 100, I would shoot it in 30P with cinegamma. HOWEVER, the GL-1 has twice the optical zoom - a big advantage over the DVX 100! And I own all this stuff for the GL-1 and XL-1.

So, in fact, after all that, I still have a question. When I told a friend about my test, he said, "Well, that was the GL-1! Did you test it against a GL-2?" Um, no. So now I'm wondering if anyone else has looked at side by side footage with the GL-2 and the DVX 100. I primarily shoot natural history documentary footage for museums. It's never going to film. Has the picture quality improved enough on the GL-2 to give the DVX 100 a run for its money? But that 20x lens on the Canon...

LS-A

I shoot a fil with 3 canon xl1's here is the footage:
http://www.vispol.com/LifeXtreme/liextremetrailer.mpg

I'm thinking about purchasing the Pana 24P. I use Canopus dvrex to edit; I don't thing it supports 24p. I won't be transfering to film. The lietreme film part will be sold for braodcast and dvd distribution, but I want that film look when it's shot on 24p mode. Is there anyway to copy the DV footage and input at 30 frames into the system firewire and edit at regular speed? Is the footage clarity better than Canon XL1's? How about playback and going SVHS cables in to NLE---than it becomes 30fps, but the quality drops (I bet)? You guys are probably saying shoot 30---isn't than the same as Canon XL1 footage?

I am using the anamorphic lens adaptor for DVX100E and I love the results!

But, I am having 2 problems :

- I keep getting black round corners at times even with zoom > 40
I use it handheld at the moment 'cause I'm waiting for a
VariZoom stabilizer to arrive.
- It's very difficult to attach and detach it to the camera.

Am I doing something wrong here?
I would appreciate any help-suggestion.

John

Cross posted here from the film look forum, but it's DVX100 footage so I'll drop a link here too, if that's ok.

http://www.dvinfo.net/conf/showthread.php?s=&threadid=9563

paulb

I just got their catalog, it lists the .6 wide angle adapter for the DVX-100 for $329.. The .7 wide angle adapter is a bit more. It's www.bhphotovideo.com (http://www.bhphotovideo.com/?BI=155) if you're interested.

Can anybody tell me the diff between .6 and .7 wide angle lens adapters? Is the .6 even worth it?

I was testing some of the sceen settings in my DVX100 today and I noticed a loud crumbling/buzzing sound...loud enough for the person on the phone to hear. I read in another post a guy was expressing concern about this- but I think in my case it was a bit different....it was like 3X louder than the servo zoom. It did it when it had trouble focusing and the focus #'s kept changing. Thankfully it stopped and hasn't done it since. Anyone else have this happen?! *I'm so paranoid now*

Shot another wedding this weekend. Figured I'd use F3 mode (boosted chroma, lowered master ped., and increased detail). Well it wasn't bad other than the detail- it looks almost too sharp...borderline halo'ing. Anyone else notice this?
*and YES, I do know you can tweak the Sceen settings manually*

Anyone have relatively new frame grabs of the DVX 100 with the Panasonic Anamorphic adapter attached?

This is a heads up regarding a two-day hands-on filmmaking workshop is slated for June 14th and 15th 2003 at the LA Filmmakers Alliance, located at 965 N. Fair Oaks Avenue, Pasadena, CA 91103.

The first day is devoted to a complete overview of the DV production process. Attendees learn hands on camerawork, lighting techniques, and sound recording. Professional guest filmmakers include John Serna, VTP/Panasonic, Brady Harris, Lowell Light, director of photography Geoff Zimmerman and sound recordist Tom Staninis. Director Robert Grasmere and Panasonic?s John Serna conduct hands on session with the Panasonic 24p DVX-100. Attendees learn camcorder menu options, scene blocking and shot composition.

Sunday is all about post-production. Apple FCP guru Steve Martin teaches the all-new Final Cut Pro 4. This is an amazing upgrade loaded with extra features. Steve edits 24p footage captured directly from the DVX-100. Attendees learn the latest tips and tricks. Attendees see a series of selected takes shaped to create a polished dialogue sequence. Attendees learn how to create a music soundtrack using Smart Sound Sonic Pro 2 and to prepare content for multi-media release using Magic Bullet and Sorenson Squeeze.

You can register or get more info by calling (800) 525-5854 or visit www.DVCamps.com

Thanks,
Geoff Zimmerman

If you are interested in purchasing a DVX100 and have not yet seen what it can do or the quality it possess. You can contact the folks at www.promax.com and ask them to send you the DVD that highlights the DVX100. Basically what it is a they shoot a scene in a bar with a couple at a table talking. One camera is shooting the girl and it is the Sony PD150 and the other camera is shooting the guy and its the DVX100. You can clearly see the difference in quality each time they switch camera angles. Oh yea the DVD is FREE!!!!! If you don't see anything about the DVD on their website then call them toll free...

Can Someone telle me what kinda settings you guys have on your AG-DVX100 as in Scene file recording setup. I just got mine 2 weeks ago and Im trying to get the right settings.

My DVX only outputs some sort of low noise when i connect the RCA audio connectors to any component (TV audio equipment etc). No recorded sound is passed out through the outputs, only the "noise". However when i plug in a pair of headphones to the camera i get the recorded audio from the RCA outputs. Although it seems like it is a phones signal, since it is distorted and I can control the volume of it with the volume control on the camera. I guess this is not how it is supposed to work, right?, or am I missing something about the audio outputs?

Thanks for any help.

I just got the .6 wide angle adapter from Century Optics and though the build quality seems quite good, there is a lot of barrelling of the image. I am aware that the .7 offers less of a wide angle, but does it have less barrelling at equivalent focal lengths in comparison with the .6? I don't really care about the zoom through, but if there was less barrelling I might be willing to upgrade. Also, does anyone know what the filter size is on the Century Optics wide angle adapter? Thanks!

Peter

Hi everybody,

We are a little production company in Turkey and we are planning on buying a camcorder for documentaries, commercaial videos and for shooting short films. As most of the cameras in our price range have really great visuals, one deciding factor for our choice will be how much manual control the camera will give us. The reason for this is we are planning on using this camera as a learning tool for our younger staff. We have film school graduates who are working to become DPs and we want to give them the camera that best enables them to learn all available aspects of digital filmmaking. We are currently undecided between PD 150 and DVX100. I am not really sure about the price difference but other than DVX 100 25p, is there any other issue that will affect our choice. I know that it shoots a much more film like image with it's cine-gamma feature, but I have read that it can be easily achived in post and infact making our crew learn how to do it themselves will even be better for them in our opinion. I would really be glad if you could give us advice on these cameras' manual adjustments, DoF in the lenses and other relevant stuff. Thanks in advance for your time.

Akif Malatyali

SEKANS

Ps. I will be in the states in two weeks and am planning on buying the pal version of whichever camera we choose. Can you give me the names of any retailers I can purchase a Pal version? from?

Does anyone know what the DVX's in-camera odometer (the menu that tracks usage by hours) is based on? The menu says it tracks cylinder rotation but would that include having your camera on with a tape inserted but not recording? How about without a tape, and playback while capturing? I'm curious because my cam states I've logged rougly 20 hours and I've only recorded 10 60 minute tapes (none of them to the very end either).

Hey guys--So I'm shooting a documentary in 24P Advanced for eventual editing on Avid's new Xpress Pro system. The probelm is I recorded an interview today and accidentally had the camera on F5, 24P standard mode. Is there a way for me to convert this footage into 24 for cutting in a 24fps timeline? Does After Effects do this? Thanks!
Peter

A long-standing deficiency in Premiere prevents you from exporting a 23.976P Quicktime with accurate sync sound for encoding a 24P DVD.

I've introduced a new product called DVFilm Mutate which gets around this problem. See http://dvfilm.com/maker/mutate.htm. Assuming you have used DVFilm Maker to convert your DVX100 clips to 24.000 fps quicktime/48048 Hz audio, and you have edited your film in Premiere at 24.000 fps, the resulting 24 fps Quicktime (which Premiere can export with accurate sync sound at 48048 Hz) is converted to 23.976P and 48000 KHz audio with the Mutate application. After that you can then encode with TMPGEnc or other programs.

Mutate should also work with other editing programs, like Quicktime Pro, which can only export at 24.000 fps and not 23.976.

Registered users of DVFilm Maker (Windows version) can get Mutate free at http://dvfilm.com/update

The DVX100 comes with a battery. Can someone tell me how long it lasts while using the LCD screen. I might be buying it and need this information.

-mark

First I thought they sent me the wrong camera because the box was so small. But I guess that's how it comes!

This thing is SWEET. Nice looking camera. I can see what other users were talking about with the "plastic" feel. But it's nothing to worrie about. Just don't drop it. It's very light weight though which is good.

Lots of great controls. I'm so glad I got this one over the PD-150. The zoom lens actually turns when you zoom in and out. Very cool - so you can see what stop your on. Works great in low light.

The "quick" eject is kickass. So much faster then the sony cams. I can change taps so fast now.

I guess the only complaint is, the camera says "steal me" on it. I'm putting better locks on the office today.

I have more accessories on order. The Panasonic shotgun mic and 2 backup batteries coming soon.

Anyway. Nice to be apart of the DVX100 group. Just wanted to share my excitement.


Have fun!

You have convinced me not to bother changing to MQ. I have just bought another 20 PQ tapes, but, just out of interest, could someone explain what the manufacturer's specifications actually mean, in practical terms:

MQ tapes have

+1db C/N and 1db OUTPUT vs. Pro Standard PQ
series.

The base lens has a 72mm thread. The Century telephoto has a 105mm od, no thread. The Century wide angle has a 95mm OD, no thread.

Question 1: Is there any way other than a mattebox to use filters with the threadless lenses?

Question 2: What matte box/lens hoods are available that would fit all three combinations (base, tele, and wide angle)?

Question 3: Does this work with the Panasonic wide angle?

Question 4: Does anyone other than Century and Panasonic make lenses for the DVX100/DVC80?

Thanks,

David

nothing in manual anywhere, except page 10, which only makes a reference to let you know where to locate it.

and do you know the size measurements?
iniside and outside diameter?


no, it's not for reversing the dc cable(vek8722)

thanks