Panasonic pre-NAB press release: PX270 shipping in March

[Barry_Green]

Panasonic to begin shipping AJ-PX270, first P2 HD HANDHELD CAMCORDER WITH AVC-ULTRA RECORDING

Available in March, New Handheld Delivers AVC-ULTRA’s High Quality and Versatile Efficiency; Offers Flexible 3G/4G/LTE Wireless Mobility

NEWARK, NJ (February 27, 2014) – Panasonic today announced delivery and pricing of the new AJ-PX270, the company’s first P2 HD handheld camcorder with AVC-ULTRA recording. Combining the high quality and incredible efficiency of low bit rate recording and the flexibility of 3G/4G/LTE wireless mobility, the five-pound PX270 provides all the key functionality of Panasonic’s high-end, shoulder-mount camcorder (the AJ-PX5000 with AVC-ULTRA). It also features newly-developed high-sensitivity, low-noise 1/3” 3-MOS imagers to produce stunning pictures, even in low light conditions.

The ultimate news acquisition tool, the PX270 will be equally suitable for a wide range of sports, corporate, education and event applications. The PX270 will be available in March at a suggested list price of $6,495.00.

With its innovative AVC-ULTRA codec, the PX270 features a wide range of recording modes. For high-quality recording, the camera records in 100Mbps AVC-Intra100, as well as 200 Mbps

AVC-Intra200 (optional: available in the near future). For applications where file size is critical, e.g., for wireless feeds, the camcorder incorporates a choice of AVC-LongG quality levels, including AVC-LongG50, AVC-LongG25 and AVC-LongG12. These 10-bit, 4:2:2 sampled codecs (LongG50/25*) record in much smaller file sizes, saving storage cost and transfer time while maintaining equal or better video quality to existing legacy codecs.



Addressing the need for high-speed file exchange, the PX270’s high-resolution AVC-Proxy encodes in parallel with higher bandwidth production formats, enabling fast, efficient offline editing, at bit rates from 6 Mbps down to 800kbps. The camcorder also offers legacy recording in DVCPRO HD, DVCPRO50, DVCPRO and DV.



“The PX270’s scalable, flexible AVC-ULTRA codec encompasses recording 10-bit 4:2:2 HD at 25Mbps, a dramatic achievement meaning that broadcast-quality HD can be transported over fast broadband networks at high speed, and users can record long-format material to a single or dual microP2 card,” said Steven Cooperman, Senior Product Manager, Panasonic System Communications Company of North America. ”The 200Mbps option is a testament to the camera’s flexibility, with its visually lossless compression and master-level quality.”



A newly designed, compact, 22X zoom lens offers a wide 28 mm to tele 616 mm (35mm equivalent) zoom range. The PX270’s three manual operation lens rings — zoom, focus and iris -- provide a comfortable manual control similar to interchangeable lenses, but without the need for actual lens changes. The zoom ring's solid feel and smooth action allows delicate ultra-slow zooming. In addition, the camera’s multi-step zoom control provides fast response and smooth zoom action, providing the creative freedom every camera operator wants. The zoom control on the handle enables variable speed zoom, allowing fine zoom control even for low angle shots.



Networking functions are included as standard, and options are available to allow for proxy video to be automatically uploaded to the cloud and for compatibility with a planned cloud workflow (scheduled for near future). The PX270 features a Wireless LAN function via an optional Wireless LAN dongle and supports existing Panasonic live uplink solutions. Dongle support for wireless workflow over a mobile 3G/4G/LTE network is also scheduled for the near future. Accessing these wireless features, PX270 operators can easily uplink low-bit rate proxy data and full-quality broadcast content. The handheld camera’s network function makes the production workflow more efficient and accelerates the broadcasting workflow from shooting to on-air.



Two microP2 card slots enable the ultimate cost-effective operation. The microP2 card, with the same reliability as the P2 card, can be used without an adapter. A P2 card slot and SD card slot are also included.

In addition to 1080/60i, the PX270 supports 1080/24p, 30p, 60p (AVC-Intra100, LongG25, LongG12 only), 720p multi HD format and SD recording. Also, 50i, 50p, and 25p are supported by 59.94 Hz/50 Hz switching. Variable frame rates in 1080-59.94p in 25 steps from 1fps to 60fps, including 24fps, 25fps and 30 fps, are standard.　　

Professional interfaces include HDMI out, HD/SD-SDI out, 3G-SDI out to support 1080 60p video output, genlock in/video out for multi-camera operation, timecode in/out, USB 3.0 (host), and USB 2.0 (device). The PX270’s three 2.2M pixel MOS sensors deliver a horizontal resolution of 1000 TV lines; the camcorder achieves high F11 (59.94 Hz)/F12 (50 Hz) sensitivity and produces excellent images. Minimum illumination is impressive at 0.02lx. Gain control is measured as -3dB to18dB, 1 step=3dB (-3dB is only on High-Sensitivity mode). Super Gain (24,30,36dB) can be assigned to a user button.

The PX270 is equipped with Panasonic’s Emmy® Award-winning Chromatic Aberration Compensation (CAC) technology to maximize lens performance; a Dynamic Range Stretch (DRS) function to optimize scene image contrast at the pixel level, reducing overexposure and crushed shadow content and dramatically improving human skin rendition; and a highly accurate flash band detection and compensation algorithm that minimizes partial image exposure due to strobe lighting. The camcorder delivers seven-mode (HD/SD/FILMLIKE 1/FILMLIKE 2/FILMLIKE 3/FILM-REC/VIDEO-REC) gamma selection and extensive digital image settings, including 12 + 3 Axis Matrix Control to fine tune skin tone.



Other key features include the industry’s first OLED viewfinder for true-to-life tones, and the industry’s first 1.56-megapixel high-resolution LCD monitor.



Audio capabilities include two, separated XLR audio inputs, and recording up to four channels of 48kHz, 24-bit audio in AVC-Intra formats (16-bit in AVC-LongG, DVCPRO HD, DVCPRO and DV). An XLR connector is conveniently located at the rear, off to the side for easier cable connection during handheld shooting. In another industry first, the audio recording level control is located towards the front for easy adjustment during shooting.

Standard features include a wide range of shutter speed in 60i/60p mode (1/60 to 1/2000), 50i/50p mode (1/50 to 1/2000), 30p mode (1/30 to 1/2000), 25p mode (1/25 to 1/2000) and 24p mode (1/24 to 1/2000); Digital Zoom function for 2x, 5x and 10x boosts; and a four‐position optical ND filter (OFF, 1/4 ND, 1/16 ND, 1/64 ND.)

For further information about Panasonic professional video products, visit www.panasonic.com/broadcast.



*AVC-LongG12 records 8-bit, 4:2:0 video.



Panasonic Solutions for Business

Panasonic delivers reliable business technology solutions that connect data with decision makers to drive better outcomes—for our customers and our customers’ customers. Panasonic engineers reliable products and solutions that help to create, capture and deliver data of all types, where, when and how it is needed. The complete suite of Panasonic professional solutions for government and commercial enterprises of all sizes addresses unified business communications, mobile computing, security and surveillance, retail point-of-sale, office productivity, visual communications (projectors, displays, digital signage) and HD video production. Panasonic solutions for business are delivered by Panasonic System Communications Company of North America, Division of Panasonic Corporation of North America, the principal North American subsidiary of Panasonic Corporation.



All brand and company/product names are trademarks or registered trademarks of the respective companies. All specifications are subject to change without notice. Information on Panasonic solutions for business can be obtained by calling 877-803-8492 or at us.panasonic.com/business-solutions/.



About Panasonic Corporation of North America
Panasonic Corporation of North America provides a broad line of digital and other electronics products and services for consumer, business and industrial use. The company is the principal North American subsidiary of Osaka, Japan-based Panasonic Corporation, and the hub of Panasonic’s U.S. branding, marketing, sales, service and R&D operations. In Interbrand’s 2013 Annual “Best Global Green Brands” report, the Panasonic brand ranked number four, the highest ranked electronics brand in the report (http://bit.ly/17ezCDI). As part of continuing sustainability efforts, Panasonic Corporation of North America relocated its headquarters to a new facility built to meet LEED certification standards, adjacent to Newark Penn Station in Newark, NJ. Learn more about Panasonic at www.panasonic.com.

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[zijital]

I just don't really get this camera.

I understand very high quality codec, but behind 1/3" chips I'm not convinced that you need that much quality. For the HVX200 I feel that DVCProHD was stronger than the 1/3" CCDs in the camera. Essentially you could take that codec & put it in a 2/3" camera & get more quality out of it.

Compare this to a EX1, where the chips are better than the codec. Put a 10bit 4:2:2 recorder on the back of an EX1 & you'll record higher quality than in camera.

It seems like AVC-Intra in the HPX250 is probably a more powerful codec than what the chips can produce & putting a recorder on the backside of the camera will give you minimal (if anything at all) improvements. Since AVC-Ultra is a big step above AVC-Intra you're just putting an even better codec behind chips that can't even bypass AVC-Intra.

Barry, please jump in with any insight. I'm mostly speaking from impression & no evidence.

 

[Mike Warren]

Since AVC-Ultra is a big step above AVC-Intra you're just putting an even better codec behind chips that can't even bypass AVC-Intra.

Only AVCIntra 200 is better than the old AVCIntra formats, and that's not even included as standard in the PX270. Where this camera excels, IMO, is with the new LongGOP formats, particularly LongG50.

 

[Barry_Green]

For the HVX200 I feel that DVCProHD was stronger than the 1/3" CCDs in the camera. Essentially you could take that codec & put it in a 2/3" camera & get more quality out of it.

Basically, yes. The HVX200 was designed towards the codec; the spatial offset chips couldn't produce any more detail than the codec could deliver, so they were a good match.

Compare this to a EX1, where the chips are better than the codec. Put a 10bit 4:2:2 recorder on the back of an EX1 & you'll record higher quality than in camera.

True.

It seems like AVC-Intra in the HPX250 is probably a more powerful codec than what the chips can produce

Well, not necessarily. AVC-Intra records 1920x1080, remember, whereas DVCPRO-HD was a prefiltered codec that recorded 1440x1080. If they only put DVCPRO-HD in the camera, it couldn't record everything that the chips can deliver. So AVC-Intra is necessary on this (and the HPX250) to capture all the detail the chips are delivering.

& putting a recorder on the backside of the camera will give you minimal (if anything at all) improvements.

I don't believe you'll see any measurable improvement at all with an external recorder.

Since AVC-Ultra is a big step above AVC-Intra you're just putting an even better codec behind chips that can't even bypass AVC-Intra.

Well, no, because AVC-Ultra isn't a codec, it's a "family of codecs". So AVC-Intra is a member of that family. It's confusing, and that's never good, they should have thought this out better, but ... that's the way it is, so we have to try to understand what they mean.

The main reason that AVC-Ultra is mandatory for the PX270 is because the PX270 can record 1080/60p. AVC-Intra doesn't support 1080/60p, it only goes up to 1080/60i. AVC-Intra records ATSC-standardized HDTV signals, but 1080/60p and 2K and 4K and all that are all "beyond HD", they're what comes after high definition. And the rest of the AVC-Ultra family (such as AVCI200 and whatnot) are designed to record more than just regular HD.

 

[zijital]

Thanks Barry, that makes more sense.

If it needs to be AVC-Ultra to do a 1080p60 at the quality of AVC-Intra, then I can see some excitement about this camera & improvement over the HPX250. For whatever reason I thought AVC-Ultra was to AVC-Intra what AVC-Intra was to DVCPro HD.

So when I read 1/3" camera w/ AVC-Ultra, I was thinking they were trying to sell a 500mbps 4:4:4 12bit codec that wasn't going to give you any performance improvements over what 100mbps 4:2:2 10bit that you have w/ the HPX250 AVC-Intra. i should've read it more closely.

I'm intrigued about "10-bit 4:2:2 HD at 25Mbps," that looks really interesting for long format / event coverage.

 

[combatentropy]

You know what I think would be a hit? A camera in this body style tailored for better depth of field. This one has 22x zoom lens, 28-616mm (in 35mm equivalent). 22x is nice, but I can't say I need it, or want it as much as I want better control over depth of field. I think a lot of people love the ergonomics of these cameras but rule them out because they aren't going to attain the look they want. Its maximum aperture is f/1.4, which sounds nice, except when you remember this is 1/3", whose crop factor is 8, so f/1.4 becomes more like f/11 in terms of depth of field.

My thought is, could you take the same size and weight allocated for an f/1.4, 22x lens, and reallocate it for something like a f/0.6 5x lens? (5x sounds weak, but 30-150mm is 5x). And f/0.6 in the 1/3" would have depth of field like f/2.8 in S35.

Just a thought.

And for those who think a 30-150mm lens is too slim to be stuck with, you can always use adapters, like a 0.7 adapter to turn it into a 21-105 or a 1.5 adapter to turn it into a 45-225. Even if the manufacturer could only manage a 4x zoom or, for me at least, even a 3x zoom, because 35-105 is really all I need for run and gun. And like I said, for special situations I could use an adapter.

 

[The Irish TRex]

I just don't really get this camera.

There's a lot going for this camera IMO...take this vs the HPX250...with this camera:
You have 3G-SDI output at 1080p60
plus you have that LongGOP 10bit 4:2:2 capability
plus you have a slightly more sensitive sensor apparently (F11/F12 vs. the 250's F10/F11 spec)
plus you have the "AJ" level of color controls seen on their higher end cameras
plus you have the super slow zoom that takes a full 3 minutes to go from full wide to full telephoto! 3 minutes!!!
plus a better LCD screen with 1.56M dots vs 921k dots on the HPX250
plus the whole wireless network thing if you're into that

I wish it wasn't a 1/3" chip still, but as far as 1/3" cameras go, there isn't any better IMO and I wouldn't be surprised if this rivals or surpasses all of Sony's 1/2" offerings under $8k. Imagine if this all was in a MFT camera?!...now that would be unbelievable. But still, there's a place for smaller sensor cameras like this and I'm excited about what's on paper. Now lets just hope there's none of the focus/lens issues that put a dent in the shine of the previous line of cameras.

 

[harddrive]

Thanks Barry, that makes more sense.

For whatever reason I thought AVC-Ultra was to AVC-Intra what AVC-Intra was to DVCPro HD.

I think it's because it originally was, then Panasonic changed the definitions of what "AVC-Ultra" meant. Their literature is far from clear, and frankly, then whilst the underlying technology is sound, the nomenclature is a disaster. Well, better than the other way round I suppose.......

For example, AVC-Intra Class 100 is what data rate, do you think? 100Mbs? Well, it depends on the framerate, and at 50/60p it's a nominal 200Mbs rate ......... (That's what the press release means by "For high-quality recording, the camera records in 100Mbps AVC-Intra100, as well as 200 Mbps " - it's very poorly written, but I take it to mean that one mode is AVCIntra100, to give high quality, and with datarates of 100Mbs for 1080/i(p)30 and 200Mbs for p60.)

 

[kabtv]

Can the PX270 and the HPX250 be a good match ?

Do you think that is possible to have the AVC Ultra family with the HPX250 ?

 

[harddrive]

My thought is, could you take the same size and weight allocated for an f/1.4, 22x lens, and reallocate it for something like a f/0.6 5x lens? (5x sounds weak, but 30-150mm is 5x). And f/0.6 in the 1/3" would have depth of field like f/2.8 in S35.

Just a thought.

An interesting thought, but I think there are reasons why the answer will be no. Firstly, I believe (?) the maximum aperture possible is set by the beam splitter as much as the lens optics - which puts a practical limit on the maximum possible aperture in a 3 chip camera. I also have a strong suspicion that aside from that, engineering a f0.5 zoom lens in the first place may be errr, challenging in the first place, to put it mildly.

Really, to get what you want, it's probably just far easier (and hence cheaper) to just use a larger chip. Which brings us yet again to the much wanted "AF200". I personally am increasing believing we will see such a thing, but not for a year or two. I also think it's most likely to be s35 (making use of the chip developed for the s35 Varicam) - not 4/3 - the question being how such would be able to made cheaper without impacting Varicam sales?

 

[True North]

It seems odd to me that they would release a camera in this price range that isn't 4K

Not that most of us currently need 4k today but wouldn't most people buying a new camera like this want a 4k capable camera? There are plenty of 1080 cameras out there that are good. I know there is a lack of camcorders in this range that can shoot 1080 60P but is that going to be enough to get people to drop $5-6k? I suppose Panny did the market research to support its production. There is a real opening here for a camera in this price range that can shoot and record 4k natively on a good codec with decent low light performance (the downfall of the Sony 4K cam's). This camera seems like it would have been a no brainer camera 2 to 3 years ago, but for now it seems a little long in the tooth, as they say

 

[Mike Harvey]

It seems odd to me that they would release a camera in this price range that isn't 4K

This seems tailor made for a couple of markets... small to medium sized ENG stations, sports, and events. I could see myself using this camera for a couple of outfits I freelance for. One does high school sports for Comcast and webstreaming (shooting on the HPX250 and HPX170), the other shoots conferences and such at Microsoft (on a mishmash of Canons). Neither have any need whatsoever for 4k, and probably never will (at least not in the next 6-7 years). And most small and medium sized TV stations aren't going to be able to afford to switch to 4k for years, and would likely buy new cameras then anyways.

 

[True North]

This seems tailor made for a couple of markets... small to medium sized ENG stations, sports, and events. I could see myself using this camera for a couple of outfits I freelance for. One does high school sports for Comcast and webstreaming (shooting on the HPX250 and HPX170), the other shoots conferences and such at Microsoft (on a mishmash of Canons). Neither have any need whatsoever for 4k, and probably never will (at least not in the next 6-7 years). And most small and medium sized TV stations aren't going to be able to afford to switch to 4k for years, and would likely buy new cameras then anyways.

There is absolutely no question that this camera would be of use today and is probably a great HD Cam. I guess my point was that I don't really think there are a shortage of good HD Cams on the market that ALREADY serve the small to medium ENG user base. So why make another new Camera where the only real difference is a 60P option. It just seems like a strange decision to me.

The biggest question mark to me is the timelines on fully integrating 4K technology in everyday life. Much like yourself, I have previously referenced prior resolution revolutions (i.e. SD to HD) and have reasoned on this very forum that it would probably be a looong while before 4K became a reality. However, some of the early indicators to me that 4K might be here sooner rather than later are things like low cost 4K TV's already on the market, cell phones that can natively shoot 4K already on the market and YouTube implementing a 4K resolution option. I am starting to feel that the shift to 4K is probably going to hit a lot harder and quicker than the shift from SD to HD. This all brings me back to the question, why would you create and introduce a brand new professional Camera without 4K?.....just seems like an odd decision to me.

 

[Bassman2003]

I think this camera is kind of a period on the end of the "HD" 1/3" chip camcorder line/era for Panasonic. From my perspective, this camera is Panasonic trying hard to make the best camera they can put out there. Why? The market has spoken that $20,000 is too much nowdays for folks to buy a camera body outside of major network use. But, pro people still want great lens controls, codecs and image controls. So they have put all of the good stuff in this camera, inculding more event friendly codecs. Either lose sales or make sales.

While AVC-Intra is a great codec, I think 100mbps is just too large for a lot of types of work. It sounds good but you have to take backups into consideration as well. I think this codec was more geared towards EFP production when it was created and all of that type of work has left any type of smaller chip cameras. The 50mbps and 25mbps additions are vital for event people to consider the camera imho. (and not be AVCHD)

Why not 4k? Well, the camera still has to be useful. A 4k 1/3" chip camera would not be very light sensitive. Since I am very interested in the PX-270 (and use an XF300 instead of an HPX-250), I am very glad they did not go for 4k. It would be a half baked real-world useage camera.

We have a fair amount of large sensor cameras nowdays and this has opened up the 1/3" space to return to being "video" cameras and not EFP wannabie cameras. I feel like I am their target market and they have hit my needs on the head. I was hoping Canon updated the XF300 but am now looking at moving to the PX-270 instead. A color matched AF-200 would round out my kit but I might have to go with the GH4. Overall, I am looking forward to seeing the images out of the PX-270 and how nice the 4:2:2 25mbps codec performs. I would guess it rivals the 50mbps Mpeg-2 codec in performance.

Barry, have you tested the 25mbps AVC-Ultra codec?

 

[Mike Harvey]

...I am starting to feel that the shift to 4K is probably going to hit a lot harder and quicker than the shift from SD to HD. This all brings me back to the question, why would you create and introduce a brand new professional Camera without 4K?.....just seems like an odd decision to me.

My gut tells me that a lot of the 4k content you're going to see on Youtube for the next few years is only going to be that 4k cell phone video Like Bassman pointed out, 4k pixels on a 1/3" chip is going to take a hit in light sensitivity. My guess is for the target markets, if it comes down to light sensitivity vs. 4k, light sensitivity wins. I know it does for me.

 

[vanvideo]

While AVC-Intra is a great codec, I think 100mbps is just too large for a lot of types of work.

Overall, I am looking forward to seeing the images out of the PX-270 and how nice the 4:2:2 25mbps codec performs. I would guess it rivals the 50mbps Mpeg-2 codec in performance.

Barry, have you tested the 25mbps AVC-Ultra codec?

It seems ITN was very impressed with the new codec. They chose the PX-5000 for their ENG cams. ITN really liked the 25mbps, 10-bit, 4:2:2 codec:


http://business.panasonic.co.uk/pro...-events/panasonic-awarded-itn-camera-contract

Keith Cass, ITN's Director of Technology said, "The ability to capture full 10 bit HD 4:2:2 images using a 25Mbps codec was an extremely attractive proposition for us. We conducted a thorough evaluation of the camera's operation, feature set and technical performance. With the addition of the camera's wireless technology this camera was the most appropriate match to ITN's future newsgathering strategy. The AJ-PX5000 really is a "cameraman's camera."

Another link:

http://www.hdwarrior.co.uk/2014/03/01/itn-to-take-deliver-of-50-panasonic-px5000-camcorders/

Philip says the 270 can record 50mbps, 10-bit, 4:2:2 onto SDHC cards. I didn't know that. That would sure save on media costs.

 

[vanvideo]

Sunset & Vine also bought PX5000s and PX270s as well:

http://www.broadcastnow.co.uk/techfacils/itn-opts-for-panasonic-cameras/5066768.article

ITN has purchased a “significant” number of Panasonic cameras and broadcast kit.

The news organisation has invested in the P2 cameras as part of its shift to HD.
Panasonic has also signed a deal with Sunset + Vine to supply the production company with AJ-PX5000 and AJ-HPX270 cameras.