Feature Requests

these problems:
waste of space on screen of LCD
low headphone output (its funny)
annoying pop-up text of the "volume control" (infuriating and completely useless)
annoying ring of the manual focusing
no switch audio channel select of the audio monitor
unnecessary side doors of the connection
no definable HighSens switch
faint viewfinder
unobtainable in Europe wireless remote stick
etc.
they show that the development team never
working in any camera
how much we had to wait until the color reproduction is repaired....

but we love it
 
My current feature requests that I believe could be possible are as follows...

1. WFM while recording.
2. WFM together with other display elements.
3. More responsive audio meters. They do the job...just.
4. Dedicated V-LOG L for this camera sensor.
5. Histogram in higher frame rates.
6. Show custom WB & ATW as a real value.
7. Allow MF Assist and Push Auto as an assignable button to move it if required.
8. Allow punch in as a separate button.

My feature requests that are basically a new model or more expensive camera are...

1. 10-bit 4:2:2 internal FHD recording (appreciate UHD may be beyond SD card framerates).
2. Brighter / more sun visible screen. It's the worst screen I've worked with.
3. Longer cable from PSU to camera :-)

I feel like this camera is being intentionally strangled by a marketing team. Odd features that are kind of implemented but only enough to dangle the carrot and not in all modes. "Look what you can do........oh, no..not in that mode." If it's a genuine technical limitation, don't include it at all or up the price of the camera. OK, that's a bit extreme but I'm sure some of you will know what I mean.

Torsten.
 
Agreed, there is a lot of that going on with this camera. I worked with a cameraman a few weeks ago who rented another DVX so we could shoot multicam and he had lots of questions for me. I found myself answering "yeah, but not in that mode" or "yeah, that's annoying but that's what this camera allows..." He was especially disappointed with the MF getting away from him. It is inaccurate, even when changing to fine, but I guess I just got used to it. He had a lot of good things to say about it as well, it's just that there's never a perfect cam for the mid-range professional. I wish I could afford an Alexa or something like that, but for us jobbing one man band's, you have to make do with what's in your price range. I find that a great deal of newer cams coming out offer a ton of features but there's this catch here, or it just can't do that. The FS5 for one, the Z150 also, there are quite a few compromises to be made. However, when you take the camera as a whole and evaluate ease of use (once you learn it and get used to it's foibles) with picture and sound quality, the fact that your final product could look stunning and you made it with an ENG-style cam that would normally have a smaller sensor as opposed to having to lug around a crapload of lenses, you realise that the DVX is pretty sweet. Took me a looooong time to get there, but I'm now very pleased with it.
 
Jonny Gross said:
However, when you take the camera as a whole and evaluate ease of use (once you learn it and get used to it's foibles) with picture and sound quality, the fact that your final product could look stunning and you made it with an ENG-style cam that would normally have a smaller sensor as opposed to having to lug around a crapload of lenses, you realise that the DVX is pretty sweet.
Click to expand...

Completely agree. I'm currently in the 'trying things out' stage and understanding the good and the bad so I can ultimately put the good to best use. You're right about that 'never a perfect camera'. It's only £3,500. It's just not that much money for something like this so it will have failings, imperfections etc.

Thanks for the reply. A very informed and realistic approach.
 
Have learned to cope with the image, for me the primary with compromises, I can now very well live.The camera can still bring beautiful results, better still, it's not much more expensive and, for the must pay attention to money and the weight of the equipment it is nevertheless a very acceptable compromise.
 
For starters, I have learned to love this camera. Yes, it has shortcomings (show me a camera that doesn't), and maybe the 200 has a few more shortcomings than it should, but I absolutely love this camera.

I agree with most of the comments in this thread, and thought I would add a hardware/usability gripe to the mix.... The back of the camera is engineered to sit nicely against your chest (or whatever else you might need to brace it against). If you flip up the viewfinder, your have a nice surface to steady the camera. So WHY... OH WHY.... did Panasonic decide to put the HDMI port out the back of the camera? They should have put the USB port on the back and the HDMI port out the top (near the back). You really don't use the USB while shooting, but many/most of us use the HDMI with an external monitor or recorder. Not only does the HDMI cable get in the way of the back of the camera, it is also a lot farther (in terms of cabling) to the recorder or monitor. Having the port on the top rear would allow for a much shorter cable.
 
INVENTION ALERT... (or maybe I am fooling myself). Another comment about the HDMI situation on this camera (and others). We all know how easy it is to trash the HDMI port and have to send the camera in for a costly repair. How about this.... inset the HDMI port into the camera body about an inch so there would be a "cavity" about an inch deep before you hit the HDMI port. Panasonic could include (and sell as an aftermarket repair part) a HDMI extension plug that fits snugly into that cavity and connects into the recessed HDMI port. (maybe the extension is even screwed in tight with two screws). Your monitor or recorder then connects the extension HDMI. The extension would still be flush with the body of the camera (like the HDMI is now), but If you snag the cable and ruin the HDMI port on the extension plug, a (let's say) $20 replacement part can be ordered instead of sending the camera in for a repair. Yes, space inside the cameras is at a premium, but just looking at the 200's battery compartment makes you realize that there is plenty of space to be found. I would pre-order a couple of those plugs and keep them in my bag in case I needed one.
 
So it's been a while , so how about on the next firmware
1 - we need on screen white balance setting ( so if it is on WB -A. How am I to know what it is set to ............????????? A on the aLCD NOT HELPFUL > display they range 5600k

2 Audio delay ( we have th set 4 frames of audio delay)
I have I job every mouth Now CANCELED due to the out put delay of he audio
, $ 15K loss Not happy and will be seeing them both, My handy has no sync at audio delay problems!!!!!!!!!!!!
 
Hi Robert... actually sounds like your camera has a problem with the audio delay. I have no problem with my camera. Not sure why you lost every job because of this problem though. You could always slide the audio into place in post production... it would be a quick fix, but annoying to have to do every time. Are you using some kind of audio equipment when you record or are you saying that you get a 4 frame delay from the built-in mic. If you are using anything other than a regular powered mic (for example, if you are running your mic into a Digital Audio Interface, then to your camera) you could get a delay.

I agree that we need to see the kelvin on the screen, not just WB-A or WB-B. I have run into this a few times because I want to just do a quick manual white balance (with a white card), then set the kelvin from the 200 on my other cameras so they all match. Not being able to see the Kelvin on the 200 has proven to be annoying many times.
 
Mabou said:
Hi Robert... actually sounds like your camera has a problem with the audio delay. I have no problem with my camera. Not sure why you lost every job because of this problem though. You could always slide the audio into place in post production... it would be a quick fix, but annoying to have to do every time. Are you using some kind of audio equipment when you record or are you saying that you get a 4 frame delay from the built-in mic. If you are using anything other than a regular powered mic (for example, if you are running your mic into a Digital Audio Interface, then to your camera) you could get a delay.

I agree that we need to see the kelvin on the screen, not just WB-A or WB-B. I have run into this a few times because I want to just do a quick manual white balance (with a white card), then set the kelvin from the 200 on my other cameras so they all match. Not being able to see the Kelvin on the 200 has proven to be annoying many times.
Click to expand...

I'm confused. I see the color temp in K on the screen when I have it set to a custom value. ???
 
Robert Bale Eventshd said:
2 Audio delay ( we have th set 4 frames of audio delay)
Click to expand...
What output delay? You have the ability to delay the headphone audio or not, just set the H/PHONE MODE option to LIVE (no delay) or RECORDING (delayed). But the audio will always be recorded perfectly in sync, and the audio on the SDI or HDMI will always be perfectly in sync.
 
Robert Bale Eventshd said:
So it's been a while , so how about on the next firmware
1 - we need on screen white balance setting ( so if it is on WB -A. How am I to know what it is set to ............????????? A on the aLCD NOT HELPFUL > display they range 5600k
Click to expand...

Hmm.. this problem is solved in Panasonic UX90 I owned. After white balance setting with a white or grey card you can read a proper value in Kelvins WB_A or WB-B (very helpful with adjusting WB in other cameras). I hope it can be solved ia a next firmware.
 
I agree with everyone here, it would be so nice if after taking a white balance in A or B the value would be saved/displayed on the screen. There have been so many times on a location shoot for me where there is ambient lighting that I like to use. With my last camera (HPX370) I would do a quick white balance with the available light, get a number, say 5000k, then bring in my LED kit where I can dial in that 5000k color temperature and everything matches - it was great. I would love to be able to do this again.
 
Quick question Barry, you mentioned earlier in the thread about the ability to change the H/PHONE MODE. I can't seem to fine it in the menu, can you (or anyone ) point me in the right direction. Thanks.
 
Barry_Green said:
What output delay? You have the ability to delay the headphone audio or not, just set the H/PHONE MODE option to LIVE (no delay) or RECORDING (delayed). But the audio will always be recorded perfectly in sync, and the audio on the SDI or HDMI will always be perfectly in sync.
Click to expand...

Sorry I have to disagree , there is some sort of processing / delay going on, (yes the audio is in sync with the video Record to the SD card, but Not SDI -HDMI out) The Record is different to what is real time, what comes out of the Out puts is 100% 5 frames from Realtime, or Live action, and when you have a tight shot of a artist singing it is so noticeable , I am not premitted to use the camera, I have to use the Sony EX3, no problems with Audio there. Easy way to get an idea test it with a external screen and listen to the talent talking with your ear ( not Headphones) but watch the external screen. If you have a solution I would love to know.
White Balance display- It should display A / B Value , not just in VAR mode, most other cameras do.
 
Mabou said:
Hi Robert... actually sounds like your camera has a problem with the audio delay. I have no problem with my camera. Not sure why you lost every job because of this problem though. You could always slide the audio into place in post production... it would be a quick fix, but annoying to have to do every time. Are you using some kind of audio equipment when you record or are you saying that you get a 4 frame delay from the built-in mic. If you are using anything other than a regular powered mic (for example, if you are running your mic into a Digital Audio Interface, then to your camera) you could get a delay.

I agree that we need to see the kelvin on the screen, not just WB-A or WB-B. I have run into this a few times because I want to just do a quick manual white balance (with a white card), then set the kelvin from the 200 on my other cameras so they all match. Not being able to see the Kelvin on the 200 has proven to be annoying many times.
Click to expand...
Hey, Thanks it's not the Record, It's the Live output, some sort of Procesing going on.
 
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