Panasonic announces UX180 and UX90 pricing & availability

Camera Expert said:
Used the slow motion feature outdoors in 24p. Seams a little soft. I used a shutter of 120.
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There are two slo-mo options on the UX180. There's VFR, and there's SUPER SLOW. The VFR is 100% the same resolution as normal footage, and goes from 2 to 60 fps. The SUPER SLOW is 120 fps, and is noticeably lower resolution.

Also would be good if their was sound. Hey, I think having sound in slowmotion is better than nothing. Panasonic should really consider adding sound on future models.
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Not likely to happen. Been asking for this since the HVX200 in 2006. The sound is disabled in slow-mo (or fast-mo) recording because it would play horribly distorted when you played back (or, the sound would be extremely out of sync). I've tried to say "something's better than nothing" but they don't see it that way; I imagine they see untold customer headaches and complaints from those who don't understand why it must be that way.
 
Noel Evans said:
When you manually balance it sees all the colours and adjusts for them, thus why manually it looks right and preset looks green.
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Noel's exactly right.

For most users, in most scenarios, I think setting the preset variable temperature is just a bad idea. It would only work properly if your light sources were 100% pure CRI. If your lights are any variation off of 100% pure, then you're going to get color shifts in your video that you almost certainly don't want (exactly like what paja experienced in the pictures above).

In almost every conceivable circumstance, taking a manual white balance will produce better, more accurate results than dialing in the color temperature will (again, exactly as shown in paja's photos above). And this isn't a UX180 issue or a UX90 issue, it's any camera at any time.

The variable color temperature preset lets you adjust the color temperature on the red/blue axis, but it doesn't account at all for any variations in cyan/magenta/green/yellow ranges. If your lights are 100% perfect on the Color Rendering Index, then there won't be any variation there, so dialing in the temperature is fine. But what is the likelihood you have perfect CRI lighting? If you're in a studio and using professional tungsten lights and you know they're exactly 3200 and you want to use gels to tint the lights, then sure, you could use the 3200k preset or dial in 3200 and that would work fine. But if there's any manner of fluorescent, or sodium vapor, or LED, or mercury vapor lighting, then I can almost guarantee you you're going to have color shifts in the green/purple range, and the preset is likely to look ugly and you'd be infinitely better served by doing a manual white balance.
 
Barry_Green said:
Were you manually dialing in the color with the variable preset? The best way to get accurate color is to do an actual manual white balance, not to dial in the color temperature.

As for adding color in-camera, it's not as simple on a UX90 as it is on the UX180; on the UX180 you have the 16-pole color matrix and can dial it in any which-way you want. On the UX90 you can adjust the red and blue individually, either using the RB COLOR BALANCE or the ATW TARGET setting depending on whether you're using manual or automatic white balance. You would probably want to experiment with the color matrix option too; there are five color matrices and you may find one more to your liking than another; it's possible NORM2 would have given you what you're after.
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Yes Barry I used the variable WB on both cameras hoping this would match them. With the HMC80 I never seem to be able to get a good manual WB with a white card and Variable WB was a features I was seeking in my upgrade. In this shoot skin tones looked best at about 3200k and attire looked more real at 2700k but I went for the skin tone as I could do a change color on attire in post. On the other hand I am really liking the UX90 as it has lots of features and produces a nice image for the price. But I was even more impressed with the cheaper Panasonic FZ2500, very nice colors, sharp and easy to operate.
 
Barry_Green said:
Noel's exactly right.

For most users, in most scenarios, I think setting the preset variable temperature is just a bad idea. It would only work properly if your light sources were 100% pure CRI. If your lights are any variation off of 100% pure, then you're going to get color shifts in your video that you almost certainly don't want (exactly like what paja experienced in the pictures above).

In almost every conceivable circumstance, taking a manual white balance will produce better, more accurate results than dialing in the color temperature will (again, exactly as shown in paja's photos above). And this isn't a UX180 issue or a UX90 issue, it's any camera at any time.

The variable color temperature preset lets you adjust the color temperature on the red/blue axis, but it doesn't account at all for any variations in cyan/magenta/green/yellow ranges. If your lights are 100% perfect on the Color Rendering Index, then there won't be any variation there, so dialing in the temperature is fine. But what is the likelihood you have perfect CRI lighting? If you're in a studio and using professional tungsten lights and you know they're exactly 3200 and you want to use gels to tint the lights, then sure, you could use the 3200k preset or dial in 3200 and that would work fine. But if there's any manner of fluorescent, or sodium vapor, or LED, or mercury vapor lighting, then I can almost guarantee you you're going to have color shifts in the green/purple range, and the preset is likely to look ugly and you'd be infinitely better served by doing a manual white balance.
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Thank you Barry,
to be honest in one moment I think about issue but after Noel and your comment it is my ignorance.
Regards
 
One of the videos I did while in New York on the 5th. This was the Lunar New Year parade in Chinatown. I also have a ton of videos of the many lion dances around Chinatown that happened on the 4th. I'm hoping the 2160p60 option appears before Thursday. I'll probably start to upload that tomorrow since I'm currently uploading the Patriot's parade that happened in Boston.

Not fun trying to shoot with people leaning up against you since everyone wants to get a good shot. I really should have tried to get a press pass so that I can be on the street. Then theirs the lights constantly changing. Wish it was sunny without much clouds.

 
Wow, the parade video I posted isn't in 2160p60 yet. It's good that YouTube can steam in 2160p60 but the speed obviously isn't ideal yet and I it would be good if the streaming bit rates were a little higher. I'll upload a small native 2160p60 sample of one of these events to a file sharing service for people to download since the streaming versions isn't nearly as sharp.

Heck, even exporting 4K 60p H.264 files on an average editor can take a while which is why I decided to use a lossless editing software. All I'm doing is adding all the clips together and hit export.

Here's the Patriots victory parade and celebration.

February 4, their was lion dancing all over Chinatown in New York being done by multiple Kung Fu schools. Here's part 1. Still have to put together the other parts. It's a heck of a lot of videos and I gotta figure out how big I want each of the other parts to be.

Everyone one of these videos will be in 2160p60 eventually. The 1 minute 39 second video I posted took many hours to finally see a 2160p60 option. These recent videos are much longer than that.
 
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Does anyone can clarify me this. In manual, they say.

AG-UX180EJ : The unit is intended for use in moderate climates
AG-UX180EΝ : The unit is intended for use in moderate climates and tropical climates.

Does anyone knows the working temperatures of these two models?
 
Is there same feature available in UX180 as in hmc81 and 80 cameras - gain goes on after iris is wide open? This is not same as auto gain - instead you can manually control the gain value via iris ring in hmc81.
 
Finally after a few months of research I order the UX180 model :). First thank you all for your help. I will post my thoughts when I get and I test my new "twins" camera (I order 2 for my job)

I have a question about the WiFi adapter.

As I read Asus USB-N53 works only on USB 2.0 and with Hardware Version A1. The product number is 90-IG1Y002M00-OPAO.

http://pro-av.panasonic.net/en/sales_o/p2/server/wireless_module.html#USB-N53

Does anyone check the compatibility of USB 3.0 model with product number 90-IG1Y003M00-OPAO? Is that compatible?
 
tsioukas said:
I have a question about the WiFi adapter. As I read Asus USB-N53 works only on USB 2.0 and with Hardware Version A1. The product number is 90-IG1Y002M00-OPAO.
Does anyone check the compatibility of USB 3.0 model with product number 90-IG1Y003M00-OPAO? Is that compatible?
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I'm pretty sure the USB 2.0 version of the ASUS N53 wifi module is the one you want. Here is the link to the ASUS product page for the original A1 version:
https://www.asus.com/us/Networking/USBN53

And here is the product page for the newer ASUS N53 B1 version (which is not compatible):
https://www.asus.com/Networking/USBN53_B1

There are some minor external cosmetic differences between the A1 and B1 versions; the back side of the A1 version is more angular, whereas the back of the B1 version is flatter and more rectangular. The A1 version is slightly thicker, by a couple of mm.

If you compare the Specifications sections for each, you'll see that only the B1 version lists USB 3.0 support. And internally, I think they use different chipsets, the A1 version using an Ralink RT3572 while the B1 version uses a MediaTek MT7662 chip. Which may explain why only the A1 version is supported, as different drivers are required for each. MediaTek acquired Ralink in 2011 and the RT3572 chipset was discontinued, which may be why ASUS went with different internals for the B1 version.
 
Thank you for detailed information.

As I thought about that, the B1 is not compatible. I didn’t know the information about chipset change, this will be useful.

The problem is here in Europe many shops they say that they sale USB 2.0 model but when I ask they answer that the available model is the USB 3.0.

There is a little mess on the market :)
 
How realistic is to that the UX180 or HC-X1 might be used as a single camera for theater/dance recitals as a 4K wideshot?
And then edit it on a 1080P or 720P timeline for DVD final product?
That would allow for some big time post zooming, for tight and wide shots, but only if the quality is good enough to crop in that much.

I am trying to simplify to using 1 camera to save time and money. Thoughts?
 
tsioukas said:
As I thought about that, the B1 is not compatible.
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We don't know that the B1 isn't compatible. All we know is that it has not been certified as being compatible -- for that matter, it may not have even been tested yet. Panasonic has tested and certified three adapters as being compatible: the WM30, WM50, and ASUS N53-A1. If you go with one of those, you know for sure it will work. If you go with something else, it may very well work -- or it may not. We don't know. But it might work.
 
firehawk said:
How realistic is to that the UX180 or HC-X1 might be used as a single camera for theater/dance recitals as a 4K wideshot?
And then edit it on a 1080P or 720P timeline for DVD final product?
That would allow for some big time post zooming, for tight and wide shots, but only if the quality is good enough to crop in that much.

I am trying to simplify to using 1 camera to save time and money. Thoughts?
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If your final delivery is going to be on standard-def DVD, then -- theoretically, you could get almost 20 DVD frames out of each UHD frame. Theoretically, you could zoom in to 858x480 (or whatever pixel ratio a SD DVD is, it's 720x480 but in terms of square pixels it's around 858 or 864 x 480) and each 3840x2160 UHD frame is made up of 20 858x480 frames, so theoretically you could extract 20 different full-frame DVD images out of each UHD frame. If you go with 4K/24p, you could actually even squeeze out a tiny bit more, since you get an additional 256 pixels of res on the X axis... but then you're limited to 24.00p, which may not be worth it.

But how practical is that? It's asking a bit much, perhaps, but -- I mean, what you're talking about is certainly possible. You can pan and zoom across the UHD frame all over the place. You may not want to zoom all the way in to 858x480, the detail may be a little soft at that point, but -- if you're zooming into 1280x720 frames then yeah, you can do that all day long and the detail will be very sharp when downconverted to DVD. At 1280x720, you get basically nine 720p frames out of each UHD frame. You'd literally need nine 720p cameras pointed at the stage to capture as much detail as you'd get from one UHD frame.
 
Barry_Green said:
Noel's exactly right.

For most users, in most scenarios, I think setting the preset variable temperature is just a bad idea. It would only work properly if your light sources were 100% pure CRI. If your lights are any variation off of 100% pure, then you're going to get color shifts in your video that you almost certainly don't want (exactly like what paja experienced in the pictures above).

In almost every conceivable circumstance, taking a manual white balance will produce better, more accurate results than dialing in the color temperature will (again, exactly as shown in paja's photos above). And this isn't a UX180 issue or a UX90 issue, it's any camera at any time.

The variable color temperature preset lets you adjust the color temperature on the red/blue axis, but it doesn't account at all for any variations in cyan/magenta/green/yellow ranges. If your lights are 100% perfect on the Color Rendering Index, then there won't be any variation there, so dialing in the temperature is fine. But what is the likelihood you have perfect CRI lighting? If you're in a studio and using professional tungsten lights and you know they're exactly 3200 and you want to use gels to tint the lights, then sure, you could use the 3200k preset or dial in 3200 and that would work fine. But if there's any manner of fluorescent, or sodium vapor, or LED, or mercury vapor lighting, then I can almost guarantee you you're going to have color shifts in the green/purple range, and the preset is likely to look ugly and you'd be infinitely better served by doing a manual white balance.
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Barry, one quick follow up on this idea of variable color temperature - Do you know which white balance any camera uses for the basis in the variable WB? Meaning, since it does not take into account the cyan/magenta/green/yellow ranges when you adjust, does it use the last manual WB as the values or one of the presets like 3200k/5600k?

Thanks.
 
Barry_Green said:
We don't know that the B1 isn't compatible. All we know is that it has not been certified as being compatible -- for that matter, it may not have even been tested yet. Panasonic has tested and certified three adapters as being compatible: the WM30, WM50, and ASUS N53-A1. If you go with one of those, you know for sure it will work. If you go with something else, it may very well work -- or it may not. We don't know. But it might work.
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I detect one comment in Amazon UK shop and he says that B1 isn't compatible with Panasonic DVX200.

Finally after a lot of research I find one shop that they have the old model (i hope) so I order that.

Also with a little search on eBay I found also some USB dongles that they have Ralink RT5370 chipset like this (there are also other similar products from other sellers). I don't know but maybe they works, of course I don't know about the quality of these products.
 
Bassman2003 said:
Barry, one quick follow up on this idea of variable color temperature - Do you know which white balance any camera uses for the basis in the variable WB? Meaning, since it does not take into account the cyan/magenta/green/yellow ranges when you adjust, does it use the last manual WB as the values or one of the presets like 3200k/5600k?

Thanks.
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As far as I know it should be the exact same as the presets (i.e., in theory if you dialed in the variable white balance temperature to 3200k, it should look identical to the P3200K preset, and if you dialed it up to 5600k it should be identical to the P5600k preset). It should be using neutral values for purple/green etc offsets, so IINM it should be accurate for 100% CRI lighting (like direct sunlight at 5600k).
 
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