AG-DVX200 4K Large-Sensor Handheld Camcorder
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rogar-Shock(DBG):. I hope very much Neat Video and so forth can shave that away.Panasonic DVX200 First Impressions and 4K footage: http://www.4kshooters.net/2015/10/26/panasonic-dvx200-4k-footage-and-first-impressions/
Here's some footage I shot recently with the DVX200:
more coming soon later this week.
Here's some footage I shot recently with the DVX200:
more coming soon later this week.
Vaughan Wood
Well-known member
Yeah, $6,475.00 is a bit hot, isn't it!!!!
Can someone please answer the question "Does the waveform monitor not function during recording?"
If so I probably won't buy it. I often do stage productions and dance concerts using a 7 inch external monitor, and have my LCD screen running the WM so I can see what's going on with all the LED lights often used these days!
Cheers,
Vaughan
Big Time!
You can get the HC-X1000 in Australia for a better price than the Currency Conversion from B&H ($3875 AU from B&H). So IMO the same should go for the DVX200 ($5810 AU from B&H) and other cameras.
joe 1008
Veteran
To my eyes there are missing one or two stops in the highlights. Did you apply a very heavy delog?
In a few shots the highlights are toned down a bit, but just slightly. there's no clipping at least in the waveform in Premiere. A few of the shots were underexposed, as bear in mind this was my first time with the camera and Vlog as well, so I wanted to protect myself and not clip highlights. Most of the footage was pushed to 0.5 to a 0.8 stops + in Premiere.
I wouldn't say its an agressive delog - I just put the Varicam LOG to 709 LUT, and then the tobacco Gold LUT that's built in Premiere to give it a warmer Autumn-like feel. The sky was washed out and typical for an English afternoon this time of year, hence why I wanted to give it some life with warmer tones. Hope this answers your question.
I'll upload some of the original V-Log L ungraded clips straight from the camera in the next few days so you can have a play with your own grade and see how the DVX200 footy feels
I have been asked by a few so far for the original footage, which I am happy to supply, just have to find time to upload some clips (and some are over 1GB)Bassman2003
Veteran
Kobayashi, your footage looks over exposed to me. The hope would be to retain the highlights and bring up the rest in those type of conditions. I have not used LOG so I do not know how difficult it s to shoot and make decisions with though.
with Log you tend to overexpose slightly as to minimise the noise in the shadows. As stated above , in my previous post, I pushed the footage to about 0.8 stops from where it was in camera. Exposing for V-Log especially I find trickier than Canon Log or Sony Slog2. I feel I have a lot more room in the highlights before they clip with Canon Log especially, whether as with V-Log, in the LCD screen at least they tend to go poof all of a sudden when you open up half a stop. I find Canon Log more forgiveable. However, none of the footage above clips in the waveform monitor.
The choice of a the specific 2nd LUT that brings up a warmer and higher tonality in the highlights was deliberate. I'll put the original exported 4K file on dropbox soon so you can see the difference that youtube./vimeo compression makes.
In a few shots I could have dropped it down by half a stop to a stop especially the last one, I see why it would be seen as over. Anyways, in the 2nd version with ungraded LOG, I'll put some of these questionable shots in lower exposure , just like it was from the camera, non adjusted, and will post the link here. Thanks for the feed back.
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In my experience, that Tobacco Gold LUT in Premiere blows out highlights very easily. In addition to its warm coloring, it adds contrast and pushes highlights through the roof when the Output LUT Intensity slider is set to 100%. This may be why all the bright parts of your images look washed out. Honestly, all the shots look a little overexposed for my taste. Does the original footage still have detail in those highlights?
And I'm sure this question has been asked elsewhere, but does the DVX200's waveform clip when shooting V-Log? Doesn't V-Log only render luminance up to 79 IRE?
Good points, I noticed that too - with the highlights an the Tobacco GOLD LUT. Actually on the intensity slider i had it between 85% and 90% not at a 100 in any shots. Funny, the VLog in camera would clip even at 70 IRE in the WFM in some instances, that's why I had to either ND it or close the aperture. I found it a bit difficult to judge exposure via the Waveform on the DVX200 - the waveform itself is tiny sometimes I'd mistake 70 IRE for 80, maybe I am spoilt from the C100 WFM, which I love and found to be super easy to use.
Does the original footage still have detail in those highlights? - yes definitely, I didnt see any of my shots blown when I de-loged in Premiere. I shot rather conservatively and ended up with a few severly underexposed shots which I didn't use in the edit.
Bassman2003
Veteran
Cool, thanks. I would be interested to see how the camera handled the situation as bright overcast days with people can be very challenging.
Barry_Green
Moderator
The waveform monitor does function during recording, yes.
However, when the waveform is displayed, nothing else is, so you won't see the iris or shutter speed readouts. All you see on the screen is the video and the waveform monitor, all the other displays are turned off during waveform display.
Barry_Green
Moderator
The gamma curve distributes brightness up to 80 IRE. I'd previously said 79, but you can get the zebras to trigger at 80, so ... it goes up to 80.
The waveform monitor displays the IRE values accurately. So it's not the waveform monitor that's clipping, it's that the VLOG-L gamma curve distributes brightness values such that the very brightest elements just reach 80 (perhaps 81) IRE.
True North
Well-known member
So anything over 80 essentially becomes one brightness level
That is why if you are shooting in V-LOG-L you shouldn't expose anything to over 80 IRE unless you are going after a specific effect or look......
ATL Media Group
Veteran
thanks Barry, for clarifying the IRE clipping point. Good to know it's 80, not 70 as I thought.
Don't have time to watch it all right now, but whats the go at 0:55 when they are walking down the corridor, keeping focus is important to me.
joe 1008
Veteran
Looks like post stabilization to me.
All in all a nice example of real world application of this camera. It really has some original DVX-mojo, doesn't it?
(I would like to run a couple of seconds of this short documentary through Neat Video - just to see if one gets rid of the noise without sacrificing too much detail. Since I have a faster computer, this turns out to save many low light shots without much time spent.)
Barry_Green
Moderator
No, you're not understanding properly. Nothing will ever be rendered over 80. The absolute brightest element will be mapped to 80 IRE. There cannot ever be anything brighter than what would be mapped to 80 IRE.
Again, misunderstanding -- you CANNOT expose anything over 80 IRE, because nothing will climb higher than 80 on the waveform.