The Review of the Panasonic DVX-200

Categories: Miscellaneous 14 Comments

Review 200 title

One week later and the review is in the bag, I will give you my thoughts later this week about low light etc.

Allan,me, Scott

Allen one of my broadcast buddies is thinking of getting a Panasonic DVX-200.

Me filming

The PTC were done with my Panasonic FZ1000 and a Sony hybrid radio mic system.

Allen film good

Allen was very complimentary about the DVX-200 and especially liked the OLED viewfinder.

Int Allen v2

Scott filming me

Me Stuart


The crew picture with Scott, myself and Allen with Stuart taking the picture. Here is the 20m review I hope you like it…

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The News…Presented as it should be

Categories: Miscellaneous 3 Comments

Live News

Producing live links for news inserts is fraught with danger, none more when you piss off the presenter.

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When 420 8bit becomes 444 10bit from Barry Green

Categories: Miscellaneous 7 Comments

420 to 444

I keep getting numpties telling me that 4K 4:2:0 8bit footage does not translate to 4:4:4 10bit on an HD timeline, don’t take my word for it lets hear from renowned expert Barry Green…


Barry “One excellent benefit of downconverting UHD/4K footage to 1080 HD in post is that you can realize an increase in proportional color resolution and a notable increase in bit depth. The AG-DVX200 records 4K or UHD footage at 8 bits per pixel and utilizes 4:2:0 color sampling. After downconversion, the resulting footage has 10 bits per pixel and 4:4:4 color sampling! Yes, you can convert 3840×2160 8-bit 4:2:0 recorded footage into 1920×1080 10-bit 4:4:4 footage in post.

To understand the color sampling advantage, you’d have to first understand that the camera re- cords its footage in 4:2:0 color sampling. That means (simply put) that there is one color sample for every 2×2 block of pixels. In any given 2×2 block of pixels there are four different “bright- ness” samples, but they all share one “color” sample. Effectively, within the 3840 x 2160 frame, there is a 1920 x 1080 matrix of color samples, one for every 2×2 block of pixels. During the downconversion to HD, each block of 2×2 brightness samples are converted into one HD pixel, creating a 1920 x 1080 matrix of brightness pixels. This 1920 x 1080 “brightness” (luminance) matrix can be effectively married to the originally-recorded 1920 x 1080 “color” matrix, result- ing in one individual and unique color sample for each and every brightness pixel. The result is 4:4:4 color sampling at high-definition resolution.

In terms of pixel depth, the original recorded footage is quantized and recorded at an 8-bit depth, providing for up to 256 shades per pixel. Other formats, like Panasonic’s own AVC-Intra, quantizes and records at a 10-bit depth, for up to 1,024 shades per pixel. Having deeper bit depth provides the ability for finer shading and more subtle transitions, especially apparent on smooth gradients (such as in a clear blue sky).


Generally 8-bit cameras perform fine for most images, but extensive image manipulation in post can reveal the limitations of 8-bit encoding and cause “banding” and “stair-stepping” from one shade to the next. 10-bit footage minimizes those effects because there are up to four shades for every one shade in 8-bit footage. When downconverting UHD/4K footage to 1080p HD, you also get the benefit of converting 8-bit pixel depth into 10-bit pixel depth! Since each 2×2 block of UHD/4K pixels will be summed to- gether to create a single 1×1 pixel in 1080p HD, the individual pixel values and gradations from the source footage can be retained in the downconverted footage.

Imagine a smooth gradient of medium gray, gradually getting brighter from left to right. In 8-bit pixel data, a medium gray might be represented by a pixel value of 128, and the next brighter shade might be 129. In 10-bit pixel data, that same medium gray (128) might be repre- sented by a pixel value of 512 (128 x 4) and that brighter shade (129) might be represented in 10- bit by a value of 516 (129 x 4). The obvious difference here is that an 8-bit camera can’t represent any difference between 128 and 129, but the 10-bit camera (looking at the exact same gradient) could represent a smoother transition between 512, to 513, 514, 515, and then eventually 516. Having 10 bits of data provides for the ability to retain and discern between finer shades of grey (or color). So what happens when we downcon- vert our 8-bit UHD footage to 10-bit 1080p HD footage? As each 2×2 block of pixels is summed together, those subtle differences in shade are retained, and we end up being able to represent shades that the 8-bit footage couldn’t have.”

HDW : Remember this only works as long as you setup a 10bit timeline.

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A Macro day with the Panasonic DVX-200

Categories: Miscellaneous 2 Comments

Macro shooting

There is a great macro zoom function on the Panasonic DVX-200 this is also helped by the superb 13x Leica 4K optical zoom lens  made specially for this camera.

4K Timeline dog copy

Double click to see this JPEG in full UHD 16:9. Shot with Scene file 5, at 0dB, UHD 50p. Note. Some of you will tell me 25p would be fine for a still picture like this but I prefer to get extra bonus of 150Mbps rather than 100Mbps (25p).

Dog WS stage

The single light source is from one Datavision LEDGO R332 LED ring light in front of the DVX-200 lens. I also tried out the interval timer record which works flawlessly.


A word of warning if you have a Panasonic PX-270 it comes with a VW-VBD58 battery pack which is the same battery that comes with the DVX-200. Some of you may also have the hahnel HL-D54 Lion battery used in the AC-90 and the PX270 but it won’t fit the DVX-200.

GX8 20MP

In the DVX-200 manual it tells us that FHD is 15.49 pixels leaving a further 4.51 MP margin confirming that the 200 is indeed sporting the Lumix GX8 sensor, this has been doubted by other readers. I only found this out today which is why I have also included this information in a previous “GX8 sensor” post.

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Sony PXW-FS5 Arriving at H Preston Media in November 2015 (£4899 incl vat body only)

Categories: Miscellaneous 3 Comments

H Preston

Arriving in November the NEW Sony PXW-FS5 (Body only) £4899 incl vat.

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Sony announce the new FS7 firmware V3

Categories: Miscellaneous No Comments

FS7 v3

Finally we are getting the 2K center scan function which crops a 2K image out of the middle of the sensor’s 4K frame doubling your lenses focal length without losing any stops of light or image quality when shooting in HD.

The 2K centre scan is like having a 2x extender as you will see no degradation in picture quality when you punch into the 2x mode. You still have far more scope filming in 4K as you can punch into the picture on an HD timeline but the 4K option gives you the added option to reframe after the event.

PXW-FS7 Firmware V3.0  (Upgrade is free of charge and available during 2015)

New Features & Improvements:

● Support for adjusting the Focus Magnification area position
● Support for “2K Full, “2K Center” setting in Imager Scan Mode
● Support for Interval Recording function
● Support for Noise Suppression setting in Cine EI mode
● Expand lowest value of Zebra level to 0%


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Panasonic DVX-200 Day ONE-4K 50p

Categories: Miscellaneous 3 Comments

Title v2

Yesterday was my wife birthday so for obvious reasons I could not spend a lot of time with the Panasonic DVX-200.

I did allow myself about half an hour to do some preliminary filming in 4K 50p or UHD 16:9 using scene file 5.

Candy 4K 200 v3

Double click on the 4K frame above to get the true 3840 x 2160 and note how clean the frame is.

Leaf 4K copy

Double click on the 4K frame above to get the true 3840 x 2160.

4K 0 v 9 copy

Again double click to see the 4K frame above, left side is 0dB while the right side is 9dB.


The PDF of the user manual helps…The User Switch menu allows you to set the LCD/EVF to VF on…or EVF on…or Auto.

Final Cut Pro 2

All my footage from the DVX-200 ingested into FCPX with no problems. Same old story to get the best from your DVX-200 my tip is film in 4K and your 8bit 420 footage will downscale to 10bit 444 footage on an HD timeline getting the best of both worlds. Please remember this is “early day getting to know the camera footage” and will not be included in the final review.

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The Panasonic DVX-200 Arrives in Glasgow

Categories: Miscellaneous 17 Comments


Finally the production model arrives for review and the first thing I am looking at is noise. A few bloggers have noted the engineering sample was noisy in the blacks. The camera comes set to SCENE FILE 1 which is noisey but set it to SCENE FILE 5 and you are looking at a different camera.

This trick was noted with the Panasonic AF101 the default setting had noise while setting a scene file to CINE V made all the difference.

Camera DVX200

Still early days finding my way around but for the life of me I can’t find the eye sensor off switch that Luc told me had now been included via a user switch ?

We have one week to produce a full review of the DVX-200 so if you have any questions please post them and I will endeavour to answer you ASAP.

I will be trying out V-LOG during the review, Panasonic told me they have worked on the noise in the shadow detail seen by a few of us on the pre production model.

Update : Since choosing SCENE file 5 the daylight pictures are stunning far better than anything I saw at London, UHD 16:9 at 50fps on a 50″ Panasonic plasma are fantastic at 0dB. I will try and get you a few stills later today, these are just getting to know the camera shots nothing exiting.

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Win a Sony PXW-FS5

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Want to win a PXW-FS5 or A7s? Sony are running a free to enter global competition to win a PXW-FS5. All you have to do is create a 2 min short film with the theme “No More Limits” upload it to YouTube and enter via the entry form by 31st October. The videos which receive the most YouTube ‘likes’ from the 1st-15th November will form regional shortlists, an Independent expert from each region will select their favourite. These regional finalists will each win a Sony A7S (or equivalent), and will be entered into the global final to win the PXW-FS5. The global winner and regional winners will be announced during a webinar on 17th December…a free FS5 has got to be worth a 2m short film.


Get your form here :

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Panasonic DVX-200 micro 4/3″ Sensor Revealed

Categories: Miscellaneous 1 Comment


Its taken long enough to find the information but initially I was under the impression that the new Panasonic DVX-200 was built round the GH4 sensor bloc, in fact it was one of Panasonic’s team that revealed this during an interview.

It is actually built round the Lumix GX8 sensor which is more up to date than the GH4 sensor, leaving far more room for future firmware updates and features.


Panasonic have been very cagey about revealing this to the outside world but with the camera due within the next two weeks we are at final production firmware, taking out a lot of niggles seen by many of us over the last 6 weeks.

One major annoyance was the eye sensor turning the LCD off at very inappropriate times…that has thankfully been fixed to an assign button, switching it on or off manually.

me BW

V-LOG has also been updated to give less noise in the shadows as seen by a few bloggers during our seminar at the Groucho club. The last piece of the puzzle will be its low light capabilities, a lot of users are banking on the DVX-200 for low light work, that will be revealed in my comprehensive review once a get a DVX-200.

Image_GX8_Sensor copy

GX8 20MP

I had a reader telling me that the DVX-200 was sporting a 12MP sensor, the information above straight from the manual tells us otherwise.

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