Pro video blog…Produced by Philip Johnston DoP/Editor

First Footage

A video has surfaced from Panasonic, Japan, showing us some of the first footage from the new DVX-200 4K camcorder, I would have liked a lot more colour and low light shots, personally.

KYOTO – A Panasonic AG-DVX200 short film from Sebastian Wiegärtner on Vimeo.

Director of Photography:
Sebastian Wiegärtner

Finally online! The worldwide first footage of the brand new Panasonic AG-DVX200!

Shot on a pre production model in UHD resolution and 50p. Sadly the compression of Vimeo and YouTube is so high, you just really can’t judge the image. All I can say: This is the perfect camera for Documentaries and fast TV work stuff, where you have to be fast and where you still want to achieve a cinematic image. Due to the M4/3 sensor it’s way easier to focus than with a Super 35 or Full Frame sensor. Almost everything shot full wide open. Native ISO of this camera is 500.

I used the flat V-Log profile, applied VariCam 35 Rec 709 and graded everything very hard + added some grain to the footage. This was shot during the Panasonic #DVX4Ktour. Shot on Location in Kyoto, Japan.

Christofer Wong – Driftin in the Rain


Having been working in the video business since 1988 I have amassed a great amount of knowledge of both the kit and production values over the last 30 years.

7 thoughts on “First footage out of Japan with the Panasonic DVX-200 4K camcorder

  1. When someone tests a new camcorder it would be greater that he shows us what the camcorder is capable thanks to natural footage.
    Here, the scope bars, the slow-motion, the awful orange-brown colors rendering maybe what the director of this pretentious video likes, but certainly not the best picture that this camcorder is capable of. What a shame!
    I would have preferred that Panasonic lend a camcorder to Philip Johnson!

  2. I agree absolutly with you, Fournier. It´s not the (very good, indeed) work of Sebastian what interests me, but the quality of the footage ungraded.

  3. Downloaded the source from Vimeo and Catalyst Browse says this is a 25P file at a low 22Mbps. So this has been edited quite a bit from the real source that I think was stated as a 50P file so would be at 150Mbps. I will wait and see what a real file is like not one that has been highly edited.

    Ron Evans

  4. We are at least one month away from having a production build of this camera, so don’t expect to see anything to judge this camera by until mid September.

  5. Hi there. I think I’ve seen you mention previosuly that 8Bit 4K dropped into a HD timeline becomes 10Bit 444. Is this atually true and is there anywhere I can read about the mechanics ofthis if so? I thought 8bit is 8 bit whatever the resolution? Would this camera be broadcast ready if so even though it’s only 8bit and not 10 bit 4:2:2. Bitrate comes into play as well no doubt. Little confused over this. Perhaps you can help or point me in the right direction. Many thanks. Darren (Cymru) 🙂

    HDW : “Regardless of whether you notice the extra resolution of 4K in terms of detail you will notice the extra resolution in terms of colour, tonality and even dynamic range especially on DSLRs which suffer the most from 8bit codecs, 4:2:0 sampling and pixel binning rather than a full pixel readout.

    This is going to result in absolutely stunning 1080p from the GH4 with the internal 4K codec after post processing.

    10bit 4:4:4 is not just an advantage for grading, it’s something you can take to existing 1080p displays, even Vimeo, and still notice – that isn’t affected by how close or far you sit from the display unlike detail at 4K on a 4K TV. The bandwidth between the sensor and the screen is now wider in all respects and that means great colour. So whenever a 4K argument centres on resolution, remember that’s not the whole story.” Andrew Reid EOSHD

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