Panasonic HVX200A - Camcorder - 1080p Manual

THE INVALUABLE GUIDE
TO THE AG-HVX200
This guidebook provides a comprehensive description of the functions and features of
the AG-HVX200, from detailed information on the HD multi-format system, variable
frame rates, and P2 card recording, to a variety of application examples.

A Camera-Recorder Packed
with Leading-Edge Technology
and Know-How
DVCPRO HD Image Quality and
Performance
The AG-HVX200 records in all HD/SD
formats, including 1080i, 720p, and 480i. For
HD, it uses the broadcast-proven DVCPRO
HD format.
The Variable Frame Rate of VariCam
In addition to the 24p/30p frame rate for 720p
images, a variable frame rate lets you add
speed effects with the AG-HVX200, a
technique that was previously possible only
with a high-end AJ-HDC27F/H VariCam
system. Since frame rate conversion can be
done in-camera, the internal down conversion
allows the user to create variable frame rate
effects for standard definition DV projects.
P2 Card Speed and Future Potential
Video and audio signals are recorded onto
the P2 flash memory card. This will
revolutionize your workflow with the reliability,
speed, and IT connectivity that only solid-
state memory can offer. The AG-HVX200's
two P2 card slots provide a host of new
functions, such as hot swapping.
Featuring DVX100 Series Operating Ease
The operating ease and popular functions of
the DVX100 series, such as the cam-driven
manual zoom, manual operation, focus
assist, scene file dial, and user buttons, have
been further refined in this advanced camera-
recorder.

CONTENTS
1. Types and Differences of HD Video Formats
1-1 High-Quality HD/SD Multi-Format Recording 1
1-2 HD/SD Multi-Format Recording with the AG-HVX200 3
1-3 720 Progressive Scan HD Images with Higher Resolution than Interlaced 1080i 5
1-4 24p HD and a Cine-Like Gamma Curve Meet Film Production Needs 7
2. Advantages of DVCPRO HD
2-1 DVCPRO HD and the DVCPRO Family: A Proven Track Record in Broadcasting 9
2-2 DVCPRO's Intraframe Compression System:
Designed to Retain All Image Information 11
2-3 DVCPRO HD's 4:2:2 Sampling Rate Is Most Beneficial
for Professional Video Production 13
2-4 Differences in Audio Recording 15
2-5 Video Format and Codec Supported by AG-HVX200 16
3. A Revolution in Recording with the P2 Card
3-1 The P2 Card — A Breakthrough in Professional Media 17
3-2 The New P2 Card Workflow 19
3-3 P2 Card Recording Functions on the AG-HVX200 21
3-4 The P2 Workflow Following Acquisition 23
4. What's a Variable Frame Rate?
4-1 An Important Part of the VariCam's Creative Expressiveness 25
4-2 Overcranking and Undercranking by Changing the Frame Rate 27
4-3 Slow-Motion and Fast-Motion Effects 29
4-4 Native Mode (720/24pN and 720/30pN)
for Special Effects Using only the Camera-Recorder 33
4-5 720p (over 60p) Mode Provides Extra Convenience
for VariCam and Other Systems 35
5. Camera Functions and Operating Ease
Inheriting the Popular DVX100 Series Design 37
6. Applications and Workflows
6-1 High-End Production of Movies and Commercials 41
6-2 Video and Independent Movie Production 44
6-3 Events and Other Professional Video Work 47
6-4 Image Production Workflow Together with Tape 49
6-5 File-Based Image Production Workflow 51
6-6 DV-Based Image Production Workflow 53
6-7 News Workflow 55
7. Terminology and Specifications
Terminology 57
Specifications 63

1
1. Types and Differences of HD Video Formats
Newly Designed Leica Dicomar 13x Optical Zoom Lens for HD Applications
Developed specifically for HD recording, the new Leica Dicomar lens features a
large 82-mm (diameter) filter. Its powerful 13x optical zoom, cam-driven zoom ring,
and Optical Image Stabilizer (OIS) are also designed for HD recording use.
New High-Sensitivity Progressive CCD
This 1/3" progressive CCD rivals many HD broadcasting cameras with its
excellent balance of high resolution, S/N, and sensitivity. The camera section scans
a high resolution 1080p image at up to 60 frames per second, and it is from this
capture that all other signals are made.
New DSP with 14-bit A/D Conversion and 19-bit Processing
With its level of performance, this new digital signal processor includes gamma
Leica Dicomar HD Lens New High-Sensitivity
Progressive CCD
1-1 High-Quality HD (High Definition)/
SD (Standard Definition)
Multi-Format Recording

New DSP with 14-bit A/D Conversion
and 19-bit Processing
DVCPRO HD
DVCPRO50
DVCPRO
DV
DV
1080p processing
2
settings for a variety of image adjustments and handles P/I (Progressive to Interlace)
conversion, cross conversion and down conversion for HD and SD formats.
DVCPRO HD Recording onto a P2 Card
The AG-HVX200 is the compact camera-recorder to offer 1080/24p (over 60i)
shooting. You can also select 1080/60i, 1080/30p, 720/60p, 720/30p, or 720/24p
in HD. The multi-codec lets you choose either DVCPRO 50, DVCPRO, or DV format
for SD (480i) recording.
Built-in DV VTR
The DV VTR section allows the AG-HVX200 to also serve as a high-end DV
camera-recorder with 16:9 aspect ratio and 24p/30p (over 60i) recording.
P2 card
Mini DV tape

1. Types and Differences of HD Video Formats
3
1-2 HD/SD Multi-Format Recording
with the AG-HVX200
1080 lines
60 fields
720 lines
60 frames
480 lines
60 fields
1080i
720p
480i

4
1080/60i
This HD format is supported by DVCPRO HD, HDCAM, and HDV. This is a popular
broadcast HD format.
1080/24p (over 60i)
The 1080/24p format is commonly used for HD video masters of material shot on 35mm
film. It is supported by HD-D5 and other high-end equipment. It is possible to record in this
format, but it does not allow the use of speed effects because of its fixed frame rate. It also
requires the use of high-end editing equipment.
720p (over 60p)
This format, which is used in the DVCPRO HD VariCam, is another popular HD
broadcast format. The progressive shooting capability also offers smooth compatibility with
computer graphics. After editing, it can be converted to 1080/60i, 1080/24p, or 480/60i if
necessary. Besides the usual over 60p mode, AG-HVX200 has the recording capability in
720/24p and 720/30p native mode. It offers the advantages of a variable frame rate. See
the details in Chapter 4 [What's a Variable Frame Rate?].
480/60i
Also called 525i, this is the Standard Definition (SD) format used in today's TV
broadcasting. It is supported by almost all video equipment, including DVCPRO 50,
DVCPRO, and DV equipment. It also supports 30p and 24p progressive shooting, but its
output video signals are all 60i (through the pulldown).
❶The initial numbers "720" indicate that there
are 720 scanning lines per frame. The larger the
number, the higher the resolution as a still image.
❷The number "24" after the slash indicates that
24 frames or fields are displayed per second. The
larger the number, the more detailed the motion
in moving images.
❸The final "p" stands for progressive, or an "i"
stands for interlaced. See the next page for
details.
❹Stands for the frame rate of the recording
format. when it differs from the shooting rate of
the CCD (❷), it should be indicated.
Resolution and Frames per Second
720/24 p
❶ ❷ ❸
(over 60p)
❹

1. Types and Differences of HD Video Formats
5
1-3 720 Progressive Scan HD Images with
Higher Resolution than Interlaced 1080i
Many TV broadcasteres use the interlaced system, which divides each image into
alternating odd and even horizontal scan lines. For example, in 1080/60i, each field
displays 540 lines, or half of the total number of its 1,080 lines, every 1/60th of a
second. Each field combines with the next field to create a complete frame. This
naturally results in a time lag of 1/60th of a second, and none of the fields contain
the information for a complete image.
If you look closely at a frame taken by a 1080i or 480i interlaced camera, you'll
see blurring in fast-motion parts where the two images overlap. You'll also find
smearing in finely detailed parts because of the relatively low vertical resolution.
Each frame of a progressive image, on the other hand, contains all of the image
information, much like a film frame, because it consists of all of the scanning lines.
In this way, progressive images share more similarity with the images of film
cameras and computer graphics. From the viewpoint of versatility, there is a major
advantage in using progressive scanning for your original images.
The AG-HVX200 features a newly developed native progressive CCD. It produces
naturally high-quality images by capturing frames with complete image information
right from the beginning.
Interlace Image
Progressive Image

6
Close-Up Interlace Freeze Frame
Please note fine engraving next to
Jackson’s head Compare to new style US
$20 bill. But how does that relate to High
Definition. These next few slides offer
additional insight to the differences
between interlace and interpolated
information. This is a freeze frame from a
1080i camera, and notice that it has the
same confusing areas of moire like what
happens in Standard Definition.
Close-Up Progressive Freeze Frame
Please note direction of the fine engraving
next to Jackson’s head Compare with new
style US $20 bill. Engraving pattern is
correct.
However, the reality is the lines curve under
as shown on this 720P image. So a
progressive capture is more representative
of the subject matter.
Interlace Freeze Frame image
The picture on the left is an interlace
freeze frame, and because it's interlace it
doesn’t have a lot of detail that is
recognizable about the ball.
Progressive Freeze Frame Image
The progressive capture does an excellent
job of conveying information about the
design and make up of the ball.

The film cameras used in making movies have a
longer history than TV broadcasting cameras, and
capture 24 frames per second onto silver halide film.
Film cameras are used more frequently than video cameras
both in movies and in TV commercials and programs.
However, their use entails considerable expenses. In addition to the high cost of
film and developing, the fact that the images cannot be previewed on-the-spot
increases the labor expenses involved in production. This has led to the idea of
using video cameras, which use inexpensive, reusable P2 card and videotape, and
require no developing.
An alternative has arrived in the form of 24p HD shooting. Progressive scanning
produces 24 frames per second, with complete image information contained in
each frame. This provides the same frame speed and motion traits as film.
The AG-HVX200 can shoot in 1080/24p (30p), 720/24p (30p), and 480/24p (30p).
1. Types and Differences of HD Video Formats
7
1-4 24p HD and a Cine-Like Gamma Curve
Meet Film Production Needs
24 frame/s
24 frames
per sec.
60 fields
per sec.
Movie Film Video
24p
60i

8
Video Gamma Image Cine-like Gamma Image
Another distinctive point in film
cameras is the image texture that results
from the rich tonal gradation of their
wide dynamic range. Panasonic has
now achieved this same level of
gradation in HD video with our original
cine-like gamma curve.
The AG-HVX200 features eight gamma
curves, including the innovative
cine-like gamma curve.
Output
Input
SD NORM
CINE-LIKE_V
CINE-LIKE_D
HD NORM
and B.PRESS,
HIGH, LOW, NEWS
AG-HVX200 Gamma Mode
NEWS: Minimizes washout to faithfully
capture all visual information especially in the highlights
HD NORM: Suitable for HD shooting
LOW: Works to flatten out a high contrast scene
SD NORM: Normal setting for SD
(this was available in the DVX100 series)
HIGH: Provides additional contrast and color gradation
B.PRESS: Provides more contras and blacks in low contrast scenes
CINE-LIKE-D: The Cine-Like mode shifted to prioritize dynamic range
CINE-LIKE-V: The Cine-Like mode shifted to prioritize contrast

2. Advantages of DVCPRO HD
9
DVCPRO HD — Developed for High End HD Production
A key advantage of the AG-HVX200 is that it uses DVCPRO HD (DVCPRO
50/DVCPRO/DV). Since this high-definition format was introduced in 2000, its
image and sound quality, reliability, and operating ease have earned the acclaim of
broadcasters and video professionals all around the world. The original (standard-
definition) DVCPRO format, introduced in 1996, has also seen wide use in
broadcasting and other professional applications.
Moreover, because a wide range of peripheral equipment has been developed for
use with DVCPRO HD VTRs, DVCPRO HD gives you more versatility in editing and
other post-production processes.
2-1 DVCPRO HD and the DVCPRO Family:
A Proven Track Record in Broadcasting

10
The DVCPRO Family: High Reliability, Wide Interchangeability
DVCPRO HD was developed as the highest recording format of the DVCPRO
family. Since the first DVCPRO VTR reached the market in 1996, this expanding
family of video formats has helped launch a major shift in the use of digital
equipment in news gathering. In 1998, DVCPRO 50 was introduced, with its 4:2:2
sampling rate for improved image quality. And in 2000, the DVCPRO family grew
again with the debut of the DVCPRO HD VTR.
The ongoing evolution of DVCPRO products and technology reflects Panasonic's
ability to continually develop new, cutting-edge products that meet emerging
worldwide needs in broadcasting, production and other pro video applications.
One hallmark of the DVCPRO family is its wide interchangeability. Panasonic's
top-of-the-line HD studio VTRs can play DVCPRO 50, DVCPRO and DV tapes. This
compatibility among products — and the flexibility it provides — remains one of the
central design concepts underlining Panasonic's development of DVCPRO
equipment.
In 2003, Panasonic began developing the DVCPRO P2 series. While upgrading
the recording media from tape to the solid-state P2 memory card, Panasonic
insisted on using the same DVCPRO/DVCPRO 50 codecs. Now, with the new
AG-HVX200, Panasonic introduces a P2 camera-recorder that offers a multi-codec
capability, allowing you to select from DVCPRO HD, DVCPRO 50, DVCPRO and DV
as the recording format.
Panasonic's DVCPRO Migration Story
Higher Reliability And Consistent Compatibility from DV to DVCPRO HD

2. Advantages of DVCPRO HD
11
2-2 DVCPRO's Intraframe Compression
System: Designed to Retain All Image
Information
All DVCPRO equipment uses intraframe compression. Data is produced and
compressed independently for each frame, even in the case of DVCPRO HD and
the huge amount of data it captures. This helps maintain superior pictures, sound
and reliability not only in nonlinear editing, but also in tape editing using VTRs. You
get greater editing flexibility and higher-quality results.
Compared to DVCPRO, an MPEG2-based system uses interframe compression.
A number of frames are formed into a group (called a GOP, for group of pictures)
for processing. In each GOP, only frame I (for Initial) contains the entire set of image
data. The subsequent frames P (Prediction) or B (Bi-directional) include the data
that is different from the data in frame I.

12
0110010
1001100
1011001
01010
0110010
1001100
1011001
01010
0110010
1001100
1011001
01010
0110010
1001100
1011001
01010
0110010
1001100
1011001
01010
0110010
1001100
1011001
01010
Data
Intra-Frame Compression
DVCPRO, DVCPRO 50, DVCPRO HD
Motion
Image
Recording
Image
DVCPRO family: The data from each frame is compressed independently, so each frame can
be reproduced singularly.
MPEG-2 (GOP): A number of frames (6, 12, or 15 etc.) are grouped together, and compression
and reproduction are done on the entire group.
0110010
1001100
1011001
01010
Inter Frame Compression
Data
MPEG-2 (GOP)
Motion
Image
Recording
Image
IB B P BB

2. Advantages of DVCPRO HD
13
2-3 DVCPRO HD's 4:2:2 Sampling Rate Is
Most Beneficial for Professional Video
Production
DVCPRO HD and DVCPRO 50 convert video signals to digital component signals
at a 4:2:2 sampling (digitizing) ratio before recording. The resulting 4:2:2 digital
component signal complies with the SMPTE259 Standard SDI signal specified in
ITU-R601.
DVCPRO HD format samples the brightness signal (Y) at 74.25 MHz and the
chroma signal (Pb/Pr) at 37.125 MHz, and combines each set of four Y samples
with two Pb and two Pr samples. With the large amount of information it provides
for the color difference signal, this system helps maintain outstanding color
resolution.
As you know, 4:2:2 sampling is one of the conditions required for source footage
and interfaces used in high-end production processes such as post-production.
This is because 4:2:2 sampling maintains rich colors that otherwise would be
degraded in editing.
Another reason is related to chroma-key composition. Because 4:2:2 sampling
•DVCPRO HD
•DVCPRO 50
4:2:2
Line 1
Line 2
Line 3
Line 4
Y
only
Y
only
Y
CRCB
Y
CRCB

14
offers higher color resolution, it
minimizes jaggies at chroma
edges - and thus is suitable for
image composition.
DVCPRO, DV (NTSC), and
DVCAM (NTSC) use a 4:1:1
sampling rate.
DVCAM (PAL) and DV (PAL) use
a 4:2:0 sampling rate.
Although these are the formats
that the color signal resolution is
half of what you get in 4:2:2
sampling their degradation of the
video quality after duplication
would be less, unlike HDV that
also uses a different version of
4:2:0 sampling, because the
luminance line is correspondent to
the color difference line.
•DVCPRO (NTSC/PAL)
•DV (NTSC)
•DVCAM (NTSC)
4:1:1
Line 1
Line 2
Line 3
Line 4
Y
only
Y
only
Y
CRCB
Y
CRCB
Line 1
Line 2
Line 3
Line 4
Y
only •DV (PAL)
•DVCAM (PAL)
Y
only
Y
CR
Y
CB
4:2:0
Line 1
Line 2
Line 3
Line 4
•HDV
4:2:0
Y
only
Y
only
Y
CR
Y
CB
(ISO/IEC 13818-2 standard)

2. Advantages of DVCPRO HD
15
2-4 Differences in Audio Recording
DVCPRO HD format supports professional-level audio specifications with up to
eight channels of uncompressed 48-kHz, 16-bit digital sound. AG-HVX200 itself
can record up to four channels of audio.
In HDV, audio recorded in MP2 format is compressed to 384 kilobits per second.
DVCPRO HD
Compression Compressed (MPEG-2
Audio Layer II)
Uncompressed
(Linear PCM)
Sampling 48 kHz 48 kHz
Quantizing 16 bit 16 bit
Channel 4 channels 8 channels (4 channels
with AG-HVX200)
Comparison between HDV and DVCPRO HD in Audio Recording
HDV
Compressed
(MP2:MPEG-1
Audio Layer II)
48 kHz
16 bit
2 channels

16
Recording Video Format*1Codec Media Rec Time*3
HD
1080/60i
DVCPRO HD
P2 card
16 minutes
1080/24p(over 60i)
1080/24pA(over 60i)
1080/30p(over 60i)
720/60p
720/24p(over 60p)
720/30p(over 60p)
720/24pN(Native)*240 minutes
720/30pN(Native)*232 minutes
SD
480/60i
DVCPRO50 32 minutes
480/24p(over 60i)
480/24pA(over 60i)
480/30p(over 60i)
480/60i
DVCPRO/DV 64 minutes
480/24p(over 60i)
480/24pA(over 60i)
480/30p(over 60i)
480/60i
DV Mini-DV tape 60 minutes
480/24p(over 60i)
480/24pA(over 60i)
480/30p(over 60i)
*1 24p=23.98p, 30p=29.97p, 60p=59.94p and 60i=59.94i
*2 In the Native mode, AG-HVX200 record only active flames.
*3 P2: using two 8GB P2 cards. (half with a single card) DV: using a AY-DVM63 mini-DV tape
2-5 Video Format and Codec
Supported by AG-HVX200

3. A Revolution in Recording with the P2 Card
17
3-1 The P2 Card —A Breakthrough in
Professional Media
Many of the truly innovative functions of the AG-HVX200 are made possible by
P2 card recording. The P2 card is a flash memory card developed by Panasonic as
a professional AV media. Anyone who has used a digital still camera understands
the advantages and convenience of file-based recording onto a memory card. The
ultra reliability, fast data transfer, and ability to reuse solid-state memory breaks
through the barriers of conventional videotape media to bring an exciting new,
faster workflow to video production.
Select a clip from the thumbnail
display for instant review. No
need to search through scenes
to record.
Dual slots allow hot-swapping for
continuous recording onto two
cards.