Panasonic Announces Dramatically Lower Pricing on AG-HMC40
 

PANASONIC ANNOUNCES DRAMATICALLY LOWER PRICING ON NEW
AG-HMC40 PROFESSIONAL AVCCAM HD HANDHELD CAMCORDER WITH
10.6 MEGAPIXEL STILL PHOTO CAPABILITY

* Compact, 3-Megapixel AVCCAM Handheld Ships in August for $2,295 *

SECAUCUS, NJ (July 20, 2009) – Initially previewed at NAB for $3,199, Panasonic's professional AG-HMC40 AVCCAM handheld camcorder will begin to ship in August at a significantly lower price, widening its appeal to a much larger customer base, the company announced today. Panasonic also announced that shipments of the new HMC40 camcorder will come initially (from August 2009 through March 2010) bundled with free EDIUS Neo 2 video editing software (Retail Value: $199).

Compact and lightweight at 2.16-pounds, the HMC40 is a versatile HD camcorder with high-quality AVCHD recordings, high-resolution still photo capture, and professional audio capabilities for a wide range of applications and markets including schools, government agencies, event videographers, web designers and more.

The camcorder’s full HD resolution 3-megapixel 3MOS imager produces stu
nning 1920x1080 or 1280 x 720 AVCHD video with high sensitivity. When used for digital still photography, the camera captures pristine still images with 10.6-megapixel resolution directly onto the SD card as a JPEG image file.

For video recording, the AVCHD format based camcorder uses MPEG-4 AVC/H.264 high profile encoding, which provides a near doubling of bandwidth efficiency and improved video performance over the older MPEG-2 compression based formats (e.g. HDV). AVCHD high definition recordings look clean and crisp, even during fast motion, reducing the image degradation or dropouts associated with older HDV recordings and can play directly from the low cost SDHC memory card on a growing number of affordable consumer devices including most Panasonic Blu-ray players.

The HMC40 records video in all four professional AVCCAM recording modes, including the highest-quality PH mode (average 21 Mbps/Max 24Mbps), the HA mode (approx.17 Mbps), the HG mode (approx.13 Mbps) and the extended recording HE mode (approx. 6 Mbps). It supports 1080/59.94i (in all modes) and 1080/29.97p, 1080/23.98p native, 720/59.94p, 720/20.97p, and 720/23.98p native (in PH mode only).

Using just one 32GB SDHC memory card, a user can record three hours of full resolution 1920x1080 video and audio in 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 1440 x 1080 HD content – all on a single 32GB SDHC card.

The camcorder’s advanced Leica Dicomar lens system captures super sharp images at up to 12X optical zoom as well as an additional 10x digital zoom. It features a 40.8mm (35mm lens equivalent) wide-angle setting, and an advanced Optical Image Stabilizer (OIS) feature to ensure stable, smooth and precise shooting. The camera also provides users with professional image functions like Dynamic Range Stretch (DRS) that helps compensate for wide variations in lighting, and a Cine-Like Gamma mode that gives recordings a more film-like aesthetic look.

The HMC40 comes standard with HDMI output, USB 2.0 (mini B-type devices), composite output (AV multi/ch1, ch2), analog component (mini-D), and a built-in stereo microphone as well as a 3.5 mm external mic-in jack. To enhance its professional audio capabilities, users can add on the optional AG-MYA30G XLR adapter. Featuring two XLR audio input terminals (mic/line switchable) and audio record level controls and +48V capability, the adapter provides professional XLR terminals for mic/line recording or the ability to accept the audio output from microphone and PA systems in studios and auditoriums.

The camera’s 2.7-inch LCD monitor offers simple touch-panel operation and access to various solid-state recording functions such as nine different recording modes, pre-record, interval recording, shot marker and metadata capture. Additional features include time/date stamp, waveform monitor display, focus assists such as focus bar display and enlarged display, user assignable focus ring (Focus/Iris/Zoom), auto focus with face detection, white balance, mode display, zebra display, center marker, color bar, tally lamps, slow smooth zoom & soft landing, slow shutter and synchro-scan shutter functions, three programmable user buttons (13 different choices), time code/UB recording, and two wired remote control terminals (for zoom, focus, aperture, REC start/stop controls). A wireless remote is also included.

AVCCAM content recorded on the SD card can be played back directly and randomly accessed on a growing number of low-cost consumer devices including solid-state HD players, Blu-ray players, game machines, laptop computers, and widescreen plasma displays with SD card slots. For editing or playback, professionals can transfer content by inserting the SD Card into Mac or PC computers or by connecting the camera directly via its USB 2.0 interface.

The HMC40 will be available at the end of August, with the free Edius Neo 2 non-linear editing software package (for Windows PC only), at a suggested list price of $2,295. The optional AG-MYA30G XLR adapter will be available in August at a suggested list price of $300. Panasonic supports the HMC40 with a three-year limited warranty (one year plus two extra years upon registration).

About AVCCAM

Panasonic’s AVCCAM series brings the benefits of solid-state HD 0D
recording to budget-conscious professionals with a range of affordable camera and recorder products that record with inexpensive, widely-available SD/SDHC cards. The professional AVCCAM line includes the AG-HMC40 compact handheld, the popular AG-HMC150 handheld, the shoulder-mount AG-HMC70, the AG-HMR10 AVCCAM recorder and its optional AG-HCK10 camera head. AVCHD is supported by a wide range of editing options including Apple Final Cut Pro 6.0.5, Adobe Premier Pro CS4, EDIUS Pro 5 and EDIUS Neo 2. In addition, a free transcoder, available for download at Panasonic AVCCAM, converts AVCHD files to DVCPRO HD P2 and downconverted DV files for use with most existing professional editing packages.

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 of Panasonic Corporation of North America. The company is the principal North American subsidiary of Panasonic Corporation (NYSE: PC) and the hub of Panasonic’s U.S. branding, marketing, sales, service and R&D operations. For more information on Panasonic Broadcast products, visit Professional Video Cameras and equipment from Panasonic.

Why couldn't they release it in the beginning of august. Was ready to order the hmc150 tomorrow but now its crunch time. A wedding in the beginning of september to do and need to learn a new cam. CCD or CMOS with a grand less. Help folks. Will I be kicking my own rear end if I get the 150 and find out the 40 takes better video? Thought CCD has a crisper image than CMOS but really don't know. Decisions decisions.

HMC150 is a great cam. I prefer CCD over CMOS due to the jello and camera flashing gets distracting. That's not to say that there's anything wrong with CMOS, but its my preference. I'm looking closely at the HMC40 as a B-cam. Curious as to how it performs in lowlight. If you need it NOW, I'd have no problem recommending the HMC150.

Another question, why was the HMC40 put in the same price range as the HMC150? Are they supposed to be comparable models just CCD vs CMOS?

A few things that I noticed off the bat is that it doesn't have as wide a lens and doesn't include the XLR connections. That alone would make me spend the extra for an HMC150.

Good points you brought up. I just pulled the trigger and ordered the 150. Should be here thursday. Got such a headache pouring over data on different cams and the GH1 for 2 months but feel relieved its over. Now will download the manual to begin studying. This is my 1st prosumer cam and am excited to move up from consumer cams. Now have to get ready for my step daughters wedding.

I’d say for the same reason the V1u was priced close to the Z1u. People want small cameras with an extensive arrow of manual features and a lot of them are willing to pay a premium for that luxury. I mean Sony had no problems selling the V1u for more money than the XH-A1.

I bet the pressure from the HM100 caused Panasonic to rethink their pricing strategy. Even if you can get better images from the HMC40, the HM100 still offers you 2 memory card slots and the ability to record in .mov.

I hope this causes the price of the HM100 to be lowered as well.

B&h is acepting pre-orders
 

$ 1,995.00

Panasonic | AG-HMC40 AVCHD CAMCORDER | AG-HMC40PJU | B&H Photo

Well, I hate to see this camera. Because I switched to Sony from Panasonic last year. I bought three Sony's: The FX1000, the HD1000U, and an HC9.

I sold my Panasonics and went Sony.

Why? Price and Tape option.

The HMC150 turned out, based on all reports, to be a terrific camera. The AVCHD is supposed to compete well with HDV. I fooled around with that Panasonic shoulder mount version that a friend of mine bought and the video loaded perfectly into my S4KP editing system.

Now this new HMC40 for $2225 with the handle and XLR.

Get this: I just bought the Sony CF recorder for my FX1000. That was another $900.

Seems like any budding video professional wanting to do ENG or event videography would go with the HMC150 and the HMC40. Why mess with the Sonys when you have to build up the camera to have XLR and tapeless?

I'm so tempted to sell all my Sony and go Panasonic. Anyone think that is a good idea?

Hard choice as you have a lot invested. I have a Sony HD1000 and will be selling it to get the HMC40 w/XLR. I am looking forward to going tapeless and having a smaller camera. Also use Adobe Premiere CS4 and it now edits AVCHD natively.

I have done three brand switches so far; from JVC to Canon to currently Panasonic (HMC-150s). Kinda painfull and expensive, and I still have batterys and old camera system equipment all over the place I never sold or gave away.

With the introduction of the HMC-40, it does make the event videographers choice much easier for a tapeless system. A $2,000ish B, C, or D camera is really a great value. It is probably even an A camera for some events. I can't wait to buy one.

So it really comes down to the expense of selling current equipment and buying Panasonic.

I shot on the set of a short film yesterday with my FX1000. They were shooting the film with the RED. I built up my camera and talked with the DP a little.

The footage I shoot onto CF card looked great. Tapeless has been perfected.

I haven't shot anything with my HD1000U in months, seems like selling it would be a good idea.

Since there has already been a price drop on the HMC40. Do you think it could actually go lower? And who is likely to have one for sale in September? B&H and Amazon are taking orders.

Also, what's the thought on the Sony and the HMC40 matching in 24?

AG-HMC40 Brochure
 

Here is the AG-HMC40 Brochure I found on the Panasonic site.

Just ordered
 

I just ordered the AG-HMC40 from B&H photo. They believe they will have it September 1st, maybe sooner. Hope its as good as it sounds for the price. I will be using it as a B camera lock down.
I was using the Canon XH-A1s and I was disappointed with the PQ, although it did well in low light. I returned it to B&H and thank goodness they did not charge me the 15% restock fee.

Jim:

I sure hope the low light capability matches the HMC-150 reasonably. If it is close, it will be a perfect B-cam.

I shot a reception in a ballroom with low/dimmed light over the weekend. The HMC-150 did very well. The B,& C cameras ranged from poor to terrible. Im going to have to use some of the B footage and it's going to stick out to even the most un-savy viewer.

In terms of what is likely, I think it won't and here's why:

(1) Smaller chip size. Think of going out in the rain with a small bucket and catching rain drops; now try it with a big bucket, you catch more rain drops. It's the same way with photons of light.

(2) Higher resolution chips; thus making each pixel even smaller. It's the same idea as point #1.

(3) CMOS, that's not a dirty word, but in general CMOS is not as sensitive to light as CCD.

The specification sheet says, "Minimum Luminance: Approx. 1 lx (Gain: +34 dB, Slow Shutter: 1/2 sec.)" For every 6 dB drop in the gain setting, the lux rating will have to increase by 2x. Also, increase the shutter speed from 1/2 second to 1/30 and the lux must increase by 15x.

Please don't get me wrong, Panasonic produces good cameras, but I believe low light performance of the camera will not be a strong point.


Bob Diaz

Thanks Bob. We all hope for camera miracles, but then current technology steps in the way.

I read one of your other posts about the 40ish? mm wide angle on the HMC-40. That alone is a major hurdle for a "B" camera. For my shooting, I need a wide angle on the B or unmanned camera. 40 mm could not be considered wide by any definition IMO.

Im starting to strongly think the only match for a HMC-150 is another HMC-150. We don't always shoot in low/poor quality light, but when you do, the HMC-150 is a lifesaver. However, the HMC-150 makes other cameras low light footage look like total crap (which otherwise in good light matches well enough).

I have noticed another low light plus of the HMC-150, it really responds well to mild (20W) on-camera lights and gives a really pleasing image that pops just right and does not give a spotlight in the face appearance. At the editors request I shot in 60i on the last shoot so I was able to use DRS2 which may have had some effect on this.

Still no word on the availability of the HMC-40. I was hoping it would come in around the middle of August but it looks like early September now.

Reading the specs on the HMC40 it looks like it's VERY CLOSE (identical?) inside to the Panasonic HS300 consumer cam. That is a very nice piece of gear, Look at how the HS300 performs-odds are it will be the same cam as the HMC40 in video performance.

Hi Bob

The first thing that put me off was the 3MOS chips so I second your comments!!! I see that Panasonic have already said that a firmware update will be available for the rolling shutter.

The Flash Band Compensation firmware upgrade compensates for the “flash band” effect experienced by most MOS-based imagers. * As these imagers utilize rolling shutter, which records images line by line instead of simultaneously, as with global shutter technology, they tend to be susceptible to image variance when a light flashes during shooting. A light band (flash band) can appear in the continuous two frames when a flash occurs…

* As there is still a possibility for the appearance of discontinuous motion with excessive camera movement or when recording very high-speed objects, care should be taken in these shooting conditions.

I wonder if these cameras will also have the dreaded "jello" effect with vibration??? We have a wedding resort here where I do a fair number of jobs and the photoshoot party are taken to various locations in a single cylinder golf cart..My CCD's are not affected but any other CMOS camera would have problems!!!

Chris

Looks like the HMC40 does go up to PH mode: Approx. 21 Mbps (VBR, Max. 24 Mbps)
where as the HS300 will only go up to HA mode (17Mbps / VBR).

It also offers more shooting modes: 1080/60i, 1080/30p, 1080/24p (Native); 720/60p, 720/30p, 720/24p (Native)

This is the thing that users have to decide, what trade-offs are they willing to make.

The HMC-150 has a CCD, but costs more.

Any camera with a CMOS chip (or chips) will show some rolling shutter effect. Mostly on whip pans (with a fast shutter speed) and with flash photos. The whip pans can be avoided, but flash pictures aren't avoidable.

One interesting this I noticed with CMOS, if the shutter speed is long, like 1/30 of a second, the odds improve that the flash will occur when the shutter is fully open. You can still get a split image on the flash (flash appears on bottom half frame 1, top half frame 2), but it's less likely than with a higher speed shutter. The down side of this solution is that you end up with more motion blur.


Bob Diaz

The HMC40 also allows you to use a LANC like this one VariZoom Lens Controls, monitors, Camera Stabilizers & Supports, Batteries, Monitor Kits Phone: 512-219-7722

Nice piece of gear, but it will perform poorly in low light. If you work in lowlight conditions at all the puny 1/4" chips will not be so great.

Does anyone know why they dropped their price from over 3k to $1995?
All the original press releases said the camera would come out and retail for over 3K.

The HMC looks interesting. I just saw some footage from an AG-HMC41E over on Vimeo. Impressive images in bright light and low-light performance didn't seem too bad. Looking at the specs, I can see the camera has a native 24p mode but no cinegamma type setting to achieve a more film-like look.

The price is right though.

Not quite true. As with other cameras from the Panasonic broadcast division, the camera has seven gammas available (two are cinegamma), plus it includes four color matrices (one of which is a Cine color matrix). The level of control on this camera FAR exceeds that available on the HDC-HS300 and HDC-TM300 consumer cameras. But it certainly appears to share the same sensor(s) and lens.

The brochure for the camera is available from the Panasonic website.

Rich

At $3,000 it's too close in price to the HMC-150. Maybe the idea was to catch the other camera companies off guard with a low cost profession grade camera. ...that's my guess.

The one thing that seems to stand our to me is that Panasonic is putting a lot of high end controls and features at a lower price point. I'll guess that students, pro-summers, and company video is the main market.

Two things that do need to be added to the total cost are the 2-Channel XLR Mic Adapter AG-MYA30G $300 and a 0.7x wide angle adapter VW-W4307HPPK $225. Even if you purchase both items, the total is only $2,525. Still a very good price point.

I can't wait for DV Expo to try out the camera....


Bob Diaz

This has happened a few times among manufacturers. The JVC HD100 and Panasonic HVX200 were both announced as being "under $10,000" and both came in at about $6,000. The Sony EX3 was announced with an MSRP of $13,000 but actually came in at $9990 MSRP. Back at NAB when they showed the HMC40 at $3200, I thought "nice little camera, but that seems way high". At $1995 it seems like a screaming deal.

I think it's great that the XLR is an add on as it enables people to buy it as a second cam who already have all the XLRs they need on their main cam. I think this might be a big market for it if the low light performance is ok.

Rich,

Thanks for the info. I stand corrected about the HMC40's cinegamma capabilities. When I looked at the official HMC40 brochure from Panasonic, it mentioned nothing about the various gamma settings, so that's why I thought it didn't offer them.

You're right that the '40 offers a far more extensive range of controls than the HS300/TM300. Before purchasing a Canon HF-S100, I had considered buying a TM300. I chose not to go with the TM300 because it didn't offer enough manual control. The Canon doesn't offer as many manual controls as I would like either, but it offers more than the TM300 does. The TM300 also costs substantially more money than the Canon.

I'm looking at getting either a HMC150 or a HMC40 next spring, depending on what my budget allows. The Canon is nice, but I find that its LCD panel tends to wash out in moderately bright outdoor light, sometimes even with an LCD hood attached. The HMC40 offers both an LCD panel and a conventional viewfinder.

Trouble is, there'll be something even better next year. Where do you stop?

If you feel you must change, I'd be more inclined to go JVC, maybe one HM700 and two HM100s at the moment.

That's as much to do with codec as anything, the 35Mbs MPEG2 should outperform AVC-HD and be natively editable - AVC-HD effectively needs transcoding. Only drawback is you'll need nearly twice as many SDHC cards for the higher datarate, but they are now so relatively cheap that's a small price to pay for the benefits. (And the JVC cameras have two slots, so you actually get a longer continuous run time.)

Why do you assume that MPEG2 even at 35MBs, can outperform MPEG4 in these cams? Plus transcoding is less of an issue every day. Native editing on a Mac is what JVC advertises, but I thought I read that editing JVC files on a PC was in some cases problematic.
Now lets talk about the cost diff between the HMC40 and the HM100....there would really have to be something special about the JVC's performance to make it worth that $1,000 more than the HMC40 (after including the XLR adapter and shotgun mic on the Panny). The real diff between them is going to be in CMOS vs. CCD, and potentially different ways in which each handles low light. I am looking forward to DV Expo and see how they measure up.

The HMC40 is finally in stock! Hope to get mine in the next few days and post some pics.
Curious to see how it will shoot in low light and how much noise there might be in 12 db.

Because it does. It is XDCAM codec, which is allowed in broadcast, AVCHD is not.
Transcoding is where you lose quality even more. Plus with big projects you start running into HD space and performance. Try to work on a 100 hour footage edit and see if you still want to transcode? JVC can record .mov or MP4 containers, so PC can edit as well. It is XDCAM codec, so whatever system can edit Sony footage can also edit JVC
Now this is a very valid point. The idea behind HM100 was almost brilliant, but the implementation fell way short. There are major technical issues, like zoom, shutter speeds, all discussed here: http://www.dvinfo.net/forum/jvc-gy-h...-wishlist.html . The major factor one has to take into consideration is ability to record uncompressed sound. For most "event guys" it doesn't matter, but any broadcast or documentary apps it cuts out need for separate sound recorder and need to sync the sound.

Steve, you are correct that the MPEG 4 is superior to the 35 Mbps MPEG 2.

I think Robert is confused about the multiple XDCAM formats.

XDCAM - Wikipedia, the free encyclopedia

Regardless of what broadcasters will or will not accept, H.264 at 24mbps can produce better quality image compression than MPEG-2 at 35mbps (assuming codec implementation quality is comparable).

Unless the HMC40 performs surprising poorly, it is going to cut into HM100 sales considerably (at current pricing levels). Watch for street prices on the HM100 to drop pretty quickly.

That's just opinion. Honestly- can you explain. I am sure people like Steve Mullen (who as a broadcast engineer is way more qualified then I am) always stated the opposite.

Again- what is your opinion based on? HM100 has exactly same XDCAM EX1/3 codec, licensed from Sony. As the matter of fact imported footage from HM100/700 is recognized
by NLE as Sony XDCAM 35Mbps codec. mov or .mp4 are just wrappers. The main difference between older XDCAM and XDCAM EX is that the information was written to an optical disc and now the information can be written to SxS or SDHC card. So no, contrary to your statement I have pretty good idea what I am talking about.

Let's try and clear this up once and for all.

MPEG4 is based on MPEG2 - they share the same core technology, but MPEG4 (or rather AVC/H264) additionally uses a whole raft of additional features or tools to achieve the same quality at a lower bitrate. The question is - how much lower?

There is no simple answer to that question, because it depends how many of the available "tools" an individual coder uses, and how well it uses them. The VERY BEST that may be theoretically achived IF ALL THE TOOLS ARE USED, is about a halving of the equivalent MPEG2 bitrate, but at present even the best broadcast coders costing a small fortune still won't achieve that. The coders in prosumer cameras don't come close - they give a substantial bitrate efficiency over MPEG2, but nowhere near a halving. A good ball park figure might be to say that they offer at 21Mbs a quality very roughly equivalent to MPEG2 at about 33% more, or around 28Mbs.

But it comes at a price, and that is editing complexity. In practice, it currently means that an NLE that may be able to natively edit MPEG2 will need AVC-HD footage to be transcoded. That shouldn't involve any quality change - but does add time and complexity.

Hence there is no simple answer to the question of which is best - MPEG2 or AVC/H264. It depends what you are using it for. The former is more easily worked with, the latter gives smaller bitrates for a given quality. Hence MPEG4 may be a clear winner for broadcast TV, when maintaining quality at forced low bitrates is imperative. But MPEG2 may be a better choice for camcorder acquisition, a higher bitrate being an acceptable price to pay for avoiding transcoding and giving easier editing.

As far as 21Mbs AVC-HD goes, my own experiences are that it doesn't match 35Mbs for quality in prosumer cameras, and from the theory above I wouldn't expect it to. (Though it may (just) in expensive broadcast coders.)
Get on to specific cameras and it's not so clear cut - there's more to a camera than it's codec. And I acknowledge the HMC40 is cheaper than the HM100, though I'm not sure the UK difference is as much as you say. The HMC40 may have other advantages as well.

But my original answer was in response to "........ I switched to Sony from Panasonic last year. I bought three Sony's: .............I'm so tempted to sell all my Sony and go Panasonic" and I was thinking along the lines of a mixture of HM700 and HM100 - not three HM100s or three HMC41s.

David, thanks for clarifying this issue and explaining it. Like with a lot of technical issues there are some frequently repeated myths, by people who simply don't know enough (myself included).
In case of HM100 vs HMC150 the codec is not the issue, but a chip size, and lens size. A 46 mm lens will never be able to compete with 72 mm, as the amount of light and detail gathered by a smaller lens will be much lesser of the value. A 1/3 inch sensor is almost twice as big as a quarter inch. On that principle a full size DSLR will always take a better picture then point/shoot cameras, regardless of the pixel count. They might look OK on a laptop, but blow it up to a poster size and then you will see the difference. Also the smaller of the sensor, the worst dynamic range among many other issues. So I would not be surprised if HMC150 would actually produced a better looking footage, but not based on a codec.
Also I think you should really consider EX1 (or EX3- depending on your budget) instead of HM700. I owned HD100 and now I also own HM100 and Sony quality is far superior to any JVC camera.

Hey guys,

I just realized to my surprise that all of these low light videos I posted were shot with the gain set at 24db. To me, from the statements I've read, you don't want to go above 12db, so after reading the manual and figuring out how to change it, the rest of my videos were shot with the max at 12db. But, the following videos were shot in full auto, auto gain control, and because of the low light I'm suspecting all at 24db:

YouTube - Panasonic HMC40 Low Light Test #1
YouTube - Panasonic HMC40 Low Light Test #2
YouTube - Panasonic HMC40 PH1080 60i Low Light, Rain, & Fog
YouTube - Panasonic HMC40 PH1080 30p Low Light, Rain, & Fog
YouTube - Panasonic HMC40 PH1080 24p Low Light, Rain, & Fog
YouTube - Panasonic HMC40 PH720 60p Low Light, Rain, & Fog
YouTube - Panasonic HMC40 PH720 30p Low Light, Rain, & Fog
YouTube - Panasonic HMC40 PH720 24p Low Light, Rain, & Fog
YouTube - Panasonic HMC40 HA1080 60i Low Light, Rain, & Fog
YouTube - Panasonic HMC40 HG1080 60i Low Light, Rain, & Fog
YouTube - Panasonic HMC40 PH720 60p - 50 & 25% Slow Motion Raining Car Action #2
YouTube - Panasonic HMC40 PH720 60p - 50 & 25% Slow Motion Raining Car Action
YouTube - Panasonic HMC40 PH720 60p - 75% Slow Motion Raining Car Action
YouTube - Panasonic HMC40 PH720 60p - Raining Car Action
YouTube - Panasonic HMC40 PH1080 60i Low Light, Rain, & Fog #2
YouTube - Panasonic HMC40 PH720 60p Shutter Speed & Slow Motion Test
YouTube - Panasonic HMC40 PH720 60p Handheld Low Light, Rain, & Fog
YouTube - Panasonic HMC40 HE1080 60i Low Light, Rain, & Fog

I don't think the above videos look bad at all at 24db, personally. What do you guys think?

Here's the rest of the videos shot with the gain maxed out at 12db, but these aren't all shot in the dark like the above ones. These you'l notice are tests of the gain, shutter speeds, auto gain control vs. manual gain control, digital zoom, white balance, and chroma levels, as well.

YouTube - Panasonic HMC40 - 1/2000 Shutter, Manual Gain 0-12db
YouTube - Panasonic HMC40 - 1/1000 Shutter, Manual Gain 0-12db
YouTube - Panasonic HMC40 - 1/500 Shutter, F7.2 - 12db Gain
YouTube - Panasonic HMC40 - 1/250 Shutter, F11 - 0 db Gain
YouTube - Panasonic HMC40 - 1/120 Shutter, F11 - 0db Gain
YouTube - Panasonic HMC40 - Full Auto, Manually Adjusting Iris Dial
YouTube - Panasonic HMC40 - AGC Vs. MGC 1/2000 Shutter
YouTube - Panasonic HMC40 - AGC Vs. MGC 1/1000 Shutter
YouTube - Panasonic HMC40 - 1/2000 Shutter Speed, High Gain to 34 db
YouTube - Panasonic HMC40 - Auto White Balance Presets
YouTube - Panasonic HMC40 Digital Zoom Test
YouTube - Panasonic HMC40 Chroma Levels from -7 to +7 = Saturation

All of the above videos are being uploaded here: UTV REPORT for download if you want the uncompressed files to watch on your computer versus YouTube. The dates of 10/12, 10/14, and 10/15 are all shot using 24db gain. And, 10/18 are the ones listed immediately above this text.

All of the videos aren't uploaded to the server yet, but I think all the 10/18 ones are already. The others are uploaded as we speak. You'l also notice that the videos on 10/18 are much larger than the rest. The reason for this is I outputted them from Adobe Premier at full 21mbps, instead of 6 mbps for all the rest. I can't tell much difference...can you guys? I'm not sure it's worth the extra size, download and upload time personally. I've found too that the best way to play these to see issues is at full screen, not the standard YouTube size.

I hope this helps...if anyone has any questions, please don't hesitate to ask. These were things I wanted to know before buying the HMC40, but I couldn't find out there, so I bought it. :)

Chris