AG-DVX200 4K Large-Sensor Handheld Camcorder

4K 20.00P a "speciality" mode?

4K 20.00P a "speciality" mode?

I read on p59 of Barry’s guide that 24.00P, which is the only option for 4K, is ‘somewhat of a “specialty” mode, and is not a general-purpose video mode.‘
Does this mean that I shouldn’t shoot 4K, but better stick to 25.00P UHD?

Would the possible audio synchronisation issues be a major issue, and couldn’t they be corrected easily enough in post?

One of the reasons I bought this camera was to shoot in 4K for reasons of future-proofing etc., and now I’m doubting if 4K is best after all.
 
okay, so with the capture function is the still image taken at the frame rate and aperture that is being recorded on video? If so wouldn't the still image be blurry, especially if the camera is operating at 24p. And if this is true, wouldn't one be better of just trying to pull a still frame from the video? or record the video at 60p
 
farfromhome said:
I read on p59 of Barry’s guide that 24.00P, which is the only option for 4K, is ‘somewhat of a “specialty” mode, and is not a general-purpose video mode.‘
Does this mean that I shouldn’t shoot 4K, but better stick to 25.00P UHD?
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If you're in a "PAL" territory (Europe, etc) then you'll almost always be better off with 25p instead of 24p. The only reason I can think of that something would absolutely dictate needing to be 4k/24p would be if it's meant to intercut with actual film, or on a project that is being shot at 24.00 fps. If it's for television broadcast, you're going to have to conform your 24.00p into 23.976p (for USA) or 25.00p (for EU/etc), so -- you'll generally be better off starting there in the first place.


[quote[Would the possible audio synchronisation issues be a major issue, and couldn’t they be corrected easily enough in post?[/quote]
Yes, it can be fairly easily corrected in post. It is not a big problem.

One of the reasons I bought this camera was to shoot in 4K for reasons of future-proofing etc., and now I’m doubting if 4K is best after all.
Click to expand...
Depends on the purpose of your footage. Keep in mind there's very, very little difference between 4K and UHD. They're the same height (they're both 2160P), there's just a little bit of difference in width (4,096 vs. 3,840). Is there some particular reason you would need 4K over UHD? If so, go with 4K, it's there and available to you.
 
greytail said:
okay, so with the capture function is the still image taken at the frame rate and aperture that is being recorded on video?
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Yes, it's using the same exposure and same shutter speed.

If so wouldn't the still image be blurry, especially if the camera is operating at 24p.
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Well, if your video frames are blurry, then the still will be equally blurry. If your video is crisp and sharp, your stills will be too.

And if this is true, wouldn't one be better of just trying to pull a still frame from the video?
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Maybe, in that pulling a still from recorded video will give you more options, since you can choose any frame to make a still from.

But the individual frame quality will be at least as good, and probably better, by capturing it live in the first place. Pulling a still from the recorded video means that it's been compressed down to 100 megabits, and then you pull a still out of that. Whereas live, the still is taken from uncompressed video (but then compressed to a JPG, so ... in the end, it's maybe better but probably not night and day better).

or record the video at 60p
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If you want the most stills to choose from, then yes, shooting at the fastest frame rate would give you that option.
 
Thanks Barry for your quick reply. I now realise there isn't much difference between 4K and UHD.

I will inevitably be throwing a mixture of HD and UHD/4K footage onto a FCPX timeline at some stage. Am I naive in thinking that Final Cut will automatically sort out the difference in frame rates, if some clips are 25.00P and some 24.00P ?
 
Barry_Green said:
Yes, it's using the same exposure and same shutter speed.


Well, if your video frames are blurry, then the still will be equally blurry. If your video is crisp and sharp, your stills will be too.


Maybe, in that pulling a still from recorded video will give you more options, since you can choose any frame to make a still from.

But the individual frame quality will be at least as good, and probably better, by capturing it live in the first place. Pulling a still from the recorded video means that it's been compressed down to 100 megabits, and then you pull a still out of that. Whereas live, the still is taken from uncompressed video (but then compressed to a JPG, so ... in the end, it's maybe better but probably not night and day better).


If you want the most stills to choose from, then yes, shooting at the fastest frame rate would give you that option.
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My questions about this is prompted by a recent video I did of a Xcountry Ski Race. When I tried to pull stills from the video (shot at 60p and shutter speed of 60!) the ski poles of my close ups of individual skiers were blurred. A still photographer would of course use 1000th of sec or more, but I can't with the video cam, so although my footage might look crisp while playing, an individual frame would always be blurred.
 
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greytail said:
My questions about this is prompted by a recent video I did of a Xcountry Ski Race. When I tried to pull stills from the video (shot at 60p and shutter speed of 60!) the ski poles of my close ups of individual skiers were blurred. A still photographer would of course use 1000th of sec or more, but I can't with the video cam, so although my footage might look crisp while playing, an individual frame would always be blurred.
Click to expand...

I shoot at 1/60 for most sports, but faster for some. Indoors, ice hockey 1/100 or 1/120 when there's enough light, for a crisper puck especially at 50% slomo. Outdoors I'm often at 1/250 for action sports and find that to look fairly natural by today's conventions for viewing. Footage shot at higher shutter speeds tends to do better when slomo is rendered in software.
 
Here's another question....about AF Area mode. A little red box comes up when you activate it, (after first making sure your are in AF mode), but you can't move it anywhere in the screen and when you do touch the screen, the scene file selections appear at the top. Is the box supposed to be moveable? Or are you supposed to put your subject in the box by moving the camera slightly. I am comparing this to several still cameras where you can move the focus point around the screen. But this dosesn't happen with the DVX200. I restarted the camera to its default values and the box was still not moveable.
 
Where is set AF Area mode...looked through the SW Set Up screens and it is not there...there is just AREA WIDTH. It allows you to adjust the width of the red box
 
greytail said:
Here's another question....about AF Area mode. A little red box comes up when you activate it, (after first making sure your are in AF mode), but you can't move it anywhere in the screen and when you do touch the screen, the scene file selections appear at the top. Is the box supposed to be moveable? Or are you supposed to put your subject in the box by moving the camera slightly. I am comparing this to several still cameras where you can move the focus point around the screen. But this dosesn't happen with the DVX200. I restarted the camera to its default values and the box was still not moveable.
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You may be confusing two different functions.

The AF Area is where you can adjust how wide of an area on the screen that the normal autofocus uses. You adjust the box size using the wheel next to the menu button.

The AREA mode is where you can choose where on the screen the camera focuses (or exposes, or YGETs, or a combination of two of those). You can touch the screen to move the (yellow) box to change where it focuses. And you can also change the size of that box, by using the wheel.
 
Barry_Green said:
You may be confusing two different functions.

The AF Area is where you can adjust how wide of an area on the screen that the normal autofocus uses. You adjust the box size using the wheel next to the menu button.

The AREA mode is where you can choose where on the screen the camera focuses (or exposes, or YGETs, or a combination of two of those). You can touch the screen to move the (yellow) box to change where it focuses. And you can also change the size of that box, by using the wheel.
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Yes, I was confused! And I found Area Mode as a user button. I missed it before because it is labelled simply "Area!" Gosh, they didn't have room to put Area Mode!:)
 
Hello all! I recently teamed up with a few DVX200 users for a multicam shoot. I've been using Barry's scene files for some time now and it's been great. So, to match all the cameras, I sent them Barry's Gh4 emulated scene files, and reloaded them in my camera to negate any changes ive made over that time. When I did so, I noticed that the Gamma on SCN3 was set to SD. Is this right? I don't remember any of the files using that Gamma, especially the one that is supposed to mirror the GH4's "portrait" file. My concern is that if I'm right and it's incorrect, then my camera is having a problem loading my files accurately and other settings may also be incorrect. Thanks everyone.
 
Brad Forman said:
Hello all! I recently teamed up with a few DVX200 users for a multicam shoot. I've been using Barry's scene files for some time now and it's been great. So, to match all the cameras, I sent them Barry's Gh4 emulated scene files, and reloaded them in my camera to negate any changes ive made over that time. When I did so, I noticed that the Gamma on SCN3 was set to SD. Is this right? I don't remember any of the files using that Gamma, especially the one that is supposed to mirror the GH4's "portrait" file. My concern is that if I'm right and it's incorrect, then my camera is having a problem loading my files accurately and other settings may also be incorrect. Thanks everyone.
Click to expand...

I just checked this on mine at its Cine-Lke V But it just goes to show, you need a print out of each scene file to identify and modify settings.
 
I got a pleasant surprise from my DVX200 when I took it to a bridal show today. Despite severe clipping from some windows, the color looks almost exactly where I want it and it is even pretty close to a Sony A7rii set in Standard mode with -3 contrast. Here is some footage from the show. Skin tones look just about right to me. The only drawback is that with this customized scene file from one of Barry's original files, I have lost a stop or two of exposure. I was using scene file 4 that I posted here a day or so ago.
https://vimeo.com/156187822
 
Hi I'm in Kent, have loads of kit inc DVX200. Mostly free weekends at the moment, Do broadcast, theatre and events mostly
Andy
07782 154547
 
Hi,

Can someone please tell me if it is possible to record 4K 50/60p 422 10bit to an external recorder like Shogun or ninja assassin?
 
1berto said:
Can someone please tell me if it is possible to record 4K 50/60p 422 10bit to an external recorder like Shogun or ninja assassin?
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No. None of the recorders on the market provide 4K 50/60p input on HDMI.

The Atomos products will support 4K at 24p, or UHD at 24/25/30p. They do not support 50p or 60p.
 
greytail said:
I got a pleasant surprise from my DVX200 when I took it to a bridal show today. Despite severe clipping from some windows, the color looks almost exactly where I want it and it is even pretty close to a Sony A7rii set in Standard mode with -3 contrast. Here is some footage from the show. Skin tones look just about right to me. The only drawback is that with this customized scene file from one of Barry's original files, I have lost a stop or two of exposure. I was using scene file 4 that I posted here a day or so ago.
https://vimeo.com/156187822
Click to expand...


Indeed colors looks great... is this UHD downscale to HD? I shoot HD 50mbps 24fps with SCENE 5 (berry)...looks too much contract lost details and too much noise at 6-8db...and manual WB 2400-2700k.

comments...I will post my video real soon..
 
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