I haven't had a chance to test component versus composite, etc., (I've been too busy editing), but the couple of shoots I've done so far with a field monitor have been incredibly disappointing. At least with composite output, the monitoring is so soft that it's virtually useless for anything other than framing... no way I can possibly tell if the shot's in focus, either with my 7" HD Marshall or the 17" Panasonic. Not just critical focus... I mean, focus, period. The picture's just mush. The footage itself is fine once I get it into the edit suite, but it's pretty horrifying to think of having to work this way. Is this a reflection of really cheap video out circuitry (i.e., they designed it only good enough to run the flip-out screen), or do I have a bum unit?

I know the composite out is just standard def, but I'm used to that...my 12-year old Beta ran circles around this, in terms of monitoring. I think, honestly, that even my XL1 did.

Welcome to the world of high def. In order to check focus with an external monitor, you need to use the component out to a high def capable monitor - the bigger the better. I only use our Sony field monitor for color determination. I never use it for focus, even for standard def, it just doesn't have the resolution.

You should read Barry Green's thread on focusing:
http://www.dvxuser.com/V6/showthread.php?t=49375
Lots of useful info.

Welcome to the world of high def. In order to check focus with an external monitor, you need to use the component out to a high def capable monitor - the bigger the better. I only use our Sony field monitor for color determination. I never use it for focus, even for standard def, it just doesn't have the resolution.

You should read Barry Green's thread on focusing:
http://www.dvxuser.com/V6/showthread.php?t=49375
Lots of useful info.


Thanks... it's a good primer. All stuff I'm used to doing anyway, coming from a 35mm still background before moving to video. I finally had the chance to side-by-side the component and composite outs, and the difference is immense. I'm not sure what's going on (or not going on, to be more precise) in the composite outs on the 200, but they're way worse than what the camera actually records, even in standard def formats....much worse than any other camera I've used.

Unfortunately, I don't see that Panasonic makes a longer multi-pin component breakout cable (or one that goes to BNC...duh...), so I'll either have to barrel the shortie to a longer one, or cannibalize a second cable.