Panasonic's new AG-CX350 camcorder

bertl2606 said:
Thanks Mitch ,good information that it does not seem to be an issue of the camera.But here same problem with my old panasonic plasma TV and also with my brandnew Sony Laser beamer.
I will check it.
Best regards , Robert
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If you keep having issues with this over multiple monitors, please contact Panasonic Support and our engineers can assist you.
 
Hello everyone,

We’ve recently adquired this camera and comming from a HPX250 I have some questions. We do have the latest firmware (2.01).

1) Is there an AVC-Intra format at 100Mbps and 25fps? I can only see a huge AVC-Intra422 at 50fps and 200Mbps.

2) There is a MOV 422 ALL-I at 100Mbps and 25fps. What are the advantages of the AVC family codec compared to MOV family codecs? Apart from the MXF wrapper, is there anything better to be aware of?

3) Is there something like the AVC-I 25pn from the HPX250? I think that it records a progressive 25p signal over a 50i stream

4) In auto iris mode, what exactly does the iris ring? Exposure compensation maybe? What is that exactly?

5) Can someone explain me (simply put) how the 3&4 audio channels work ? The manual is very confusing. I would like to record and adjust ch1&ch2 manual level and let the ch3&ch4 as the internal mic in auto for backup only.

6) If a clip spreads between two cards (in relay rec), are there two separated clips or does the camera merge them into one?

7) Is there a better way to import clips to the NLE apart from dragging the individual MXF files? Is there a directory structure to keep for metadata or so?

Thank you very much!
 
4) Yes, the iris ring is for exposure compensation which can be turned on or off in the menu. In my experience, the camera wants to overexpose in auto so I often run the exposure compensation at -13. You might want to experiment with this.

5) On my PX270, channels 3&4 are always recorded and I have the option in my NLE to use them or not. So it should work the same way with the CX350.
 
mitteg said:
1) Is there an AVC-Intra format at 100Mbps and 25fps? I can only see a huge AVC-Intra422 at 50fps and 200Mbps.
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Not in the P2 formats, but there is one for 1080/25p ALL-I at 100Mbps in the MOV format.

2) There is a MOV 422 ALL-I at 100Mbps and 25fps. What are the advantages of the AVC family codec compared to MOV family codecs? Apart from the MXF wrapper, is there anything better to be aware of?
Click to expand...
The P2 formats are designed for compatibility with and integration into an existing P2 environment. I don't know if there's any fundamental difference between the ALL-I of each mode. NLE compatibility and file handling will be different between the two formats, of course, and MOV supports UHD where the P2 formats don't. The main advantage you'll have is that if you want 1080/25P ALL-I, well, that's only available in the MOV. And if you want 720p, it's much better supported in the P2 format.

3) Is there something like the AVC-I 25pn from the HPX250? I think that it records a progressive 25p signal over a 50i stream
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Well, the most direct comparison would be the MOV 422 ALL-I 100mbps. That's 25 native progressive frames. It's not recorded as interlaced, it's recorded as progressive, but it can be output over an interlaced output and would then be functionally identical to 25pN.

4) In auto iris mode, what exactly does the iris ring? Exposure compensation maybe? What is that exactly?
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It lets you bias the over/underexposure to taste.

5) Can someone explain me (simply put) how the 3&4 audio channels work ? The manual is very confusing. I would like to record and adjust ch1&ch2 manual level and let the ch3&ch4 as the internal mic in auto for backup only.
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As Bassman2003 said, it works pretty much exactly as you want it to.

6) If a clip spreads between two cards (in relay rec), are there two separated clips or does the camera merge them into one?
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Well if it's across two cards, then yes it's two separate clips, one on each card.

7) Is there a better way to import clips to the NLE apart from dragging the individual MXF files? Is there a directory structure to keep for metadata or so?
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If you're recording MXF, you should always maintain the full directory structure. Just about every modern NLE should support importing the MXF file from the native directory structure.
If you're recording MOV, it's all quite simple, everything is contained within the single MOV file.
 
bluesgeek said:
I've been using CX350, UX90, and AC90 with several HDMI switchers (BMD, Tricaster, vMix, and Slingstudio. However, I have just had an issue crop up where I cannot connect my CX350 with Slingstudio. This is after having used them together for at least a dozen projects.

I cannot connect using the wireless camera links, nor with a direct HDMI connection to the Slingstudio hub. I can still connect with UX90 and AC90.

I have tried resetting Slingstudio and resetting the menus on the CX350.

Slingstudio support has no answers and suggests a problem with the camera, but I can still connect the CX350 to other switchers.

Any thoughts? Is anyone successfully using the CS350 with Slingstudio?
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I was able to connect by setting the HDMI output to "System". Once connected, I can switch HDMI output to 1080p and maintain the connection. Not sure what this indicates.
 
Having trouble connecting CX350 via HDMI to a BlackMagic DeckLink Mini Recorder (capture card).

I have tried on 3 different boxes with these cards, and I have no trouble connecting UP90s, AC30s, and AC90s.

BlackMagic Desktop Video (driver) correctly reports the standard and resolution for all the mentioned cams, but reports nothing when the CX350 is plugged in.

The CX350 does connect via HDMI with other capture cards I have (not BMD).

The CX350 does connect with the BMD Mini ATEM, and with a Sling Studio, as well as directly to HDMI monitors.
 
Thank you very much. Things are much clearer now.

Bassman2003 said:
4) Yes, the iris ring is for exposure compensation which can be turned on or off in the menu. In my experience, the camera wants to overexpose in auto so I often run the exposure compensation at -13. You might want to experiment with this.

5) On my PX270, channels 3&4 are always recorded and I have the option in my NLE to use them or not. So it should work the same way with the CX350.
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Barry_Green said:
Not in the P2 formats, but there is one for 1080/25p ALL-I at 100Mbps in the MOV format.


The P2 formats are designed for compatibility with and integration into an existing P2 environment. I don't know if there's any fundamental difference between the ALL-I of each mode. NLE compatibility and file handling will be different between the two formats, of course, and MOV supports UHD where the P2 formats don't. The main advantage you'll have is that if you want 1080/25P ALL-I, well, that's only available in the MOV. And if you want 720p, it's much better supported in the P2 format.


Well, the most direct comparison would be the MOV 422 ALL-I 100mbps. That's 25 native progressive frames. It's not recorded as interlaced, it's recorded as progressive, but it can be output over an interlaced output and would then be functionally identical to 25pN.


It lets you bias the over/underexposure to taste.


As Bassman2003 said, it works pretty much exactly as you want it to.


Well if it's across two cards, then yes it's two separate clips, one on each card.


If you're recording MXF, you should always maintain the full directory structure. Just about every modern NLE should support importing the MXF file from the native directory structure.
If you're recording MOV, it's all quite simple, everything is contained within the single MOV file.
Click to expand...
 
bluesgeek said:
Having trouble connecting CX350 via HDMI to a BlackMagic DeckLink Mini Recorder (capture card).

I have tried on 3 different boxes with these cards, and I have no trouble connecting UP90s, AC30s, and AC90s.

BlackMagic Desktop Video (driver) correctly reports the standard and resolution for all the mentioned cams, but reports nothing when the CX350 is plugged in.

The CX350 does connect via HDMI with other capture cards I have (not BMD). The CX350 does connect with the BMD Mini ATEM, and with a Sling Studio, as well as directly to HDMI monitors.
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HDMI connections can often be a little finicky because there is a negotiation (EDID) that happens between the electronics at either end of the cable to try to find an optimal signal (resolution, color depth, sub-sampling, etc.) that each end will support. Since there are a lot of different video formats in the HDMI spec, this can sometimes result in incompatibilities even when it seems like things should work.

Since both the CX350 and DeckLink Mini Recorder have SDI ports, I would recommend using SDI rather than HDMI for this connection. This will avoid any of the HDMI signal format detection issues, because with SDI, there is no negotiation, the camera will send the format you tell it to. SDI also supports a smaller set of signal formats so it tends to have better compatibility. Not to mention that SDI ports use locking connectors and support much longer cable runs than is usually possible over HDMI cables.

Keep in mind that the DeckLink Mini Recorder does not support 1080p50 or 1080p60 input signals, so the maximum resolution it can handle is either 1080i60 or 1080p30. If you need higher progressive frame rates with this card, it can accept 720p (up to 60fps). Since 1080p30 was never really a television broadcast standard, I have often found that compatibility with this signal format (especially over HDMI) on a lot of devices tends to be lower than the more commonly used broadcast formats of 720p50/720p5994 or 1080i50/1080i5994.
 
davedv said:
HDMI connections can often be a little finicky because there is a negotiation (EDID) that happens between the electronics at either end of the cable to try to find an optimal signal (resolution, color depth, sub-sampling, etc.) that each end will support. Since there are a lot of different video formats in the HDMI spec, this can sometimes result in incompatibilities even when it seems like things should work.

Since both the CX350 and DeckLink Mini Recorder have SDI ports, I would recommend using SDI rather than HDMI for this connection. This will avoid any of the HDMI signal format detection issues, because with SDI, there is no negotiation, the camera will send the format you tell it to. SDI also supports a smaller set of signal formats so it tends to have better compatibility. Not to mention that SDI ports use locking connectors and support much longer cable runs than is usually possible over HDMI cables.

Keep in mind that the DeckLink Mini Recorder does not support 1080p50 or 1080p60 input signals, so the maximum resolution it can handle is either 1080i60 or 1080p30. If you need higher progressive frame rates with this card, it can accept 720p (up to 60fps). Since 1080p30 was never really a television broadcast standard, I have often found that compatibility with this signal format (especially over HDMI) on a lot of devices tends to be lower than the more commonly used broadcast formats of 720p50/720p5994 or 1080i50/1080i5994.
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Thank you, Dave. This is all very helpful and useful.

At the same time, I would hope that Panny would want to learn why I have had no issues with AC90 AC30 DVX200 US90. Perhaps someone who has a DeckLink Mini Recorder could test a CX350 with it. It may be my copy of the CX350 that is the issue.
 
Have you seen the new three small chip panasonic camcorders? AG-CX10, HC-X2000 and HC-X1500. Panasonic claims that have new autofocus system and face recognition. Do you expect a new firmware update on the CX350 to implement these autofocus improvements? Face recognition would be great!
 
mitteg said:
Have you seen the new three small chip panasonic camcorders? AG-CX10, HC-X2000 and HC-X1500. Panasonic claims that have new autofocus system and face recognition. Do you expect a new firmware update on the CX350 to implement these autofocus improvements? Face recognition would be great!
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The new cameras look interesting, especially if you need something compact with a large zoom range. Although I'd expect CX350 to retain an advantage when it comes to image quality due to the larger sensor.

I'd definitely like to see them add face recognition or other autofocus improvements to the CX350 though. Especially since lower-priced Panasonic cameras like the GH5s, G9 and now these new camcorders have this feature. Previous Panasonic cameras like the DVX200 at least had settings to control the autofocus speed and sensitivity, but even this is missing from the CX350 where there are very few autofocus options at all.
 
Hello,

Given the CX350 folder structure when recording in MOV containter (see: https://pro-av.panasonic.net/manual/html/AG-CX350P.PJ.EN.ED.AN.PX(DVQP1830ZA)_E/chapter03_06_07.htm). What is the best way to import the footage with Adobe Premiere:

- Copying just the video files from PRIVATE/PANA_GRP/001RCQAM from the SD to a disk and then create a Premiere project and import the clips.
OR
- Create a Premiere project and use the import tool and select the parent folder expecting Premiere to interpret the folder structure and interpret some metadata (which I tried but not suceeded)

Thanks!
 
mitteg said:
Responding my own question, I found this guide: https://www.google.com/url?sa=t&rct...de_en_02.pdf&usg=AOvVaw291JDMWJ0SU4AaZpGMsshe

But I cannot see any advantage of using these steps compared to just grabbing and copying the *.MOV from the SD to a computer disk.

Are the .backups and .dat files useful for something?
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When shooting AVCHD, importing into Premiere via the Media Browser was usually the recommended approach, because that way Premiere will automatically identify the clips as they were recorded. So even though a single recorded clip might span multiple MTS files in the AVCHD directory, it would get added as a single clip in the timeline when imported through the Media Browser.

In the case of MOV or MP4 files, in which each clip is usually contained in a single file, I am not sure that it really makes much of a difference how the files are imported. As far as I know, all of the relevant metadata should be in the MOV file itself. I believe the other (non-video) files on the SD card are mostly intended for internal usage by the camera.

If I had to guess, the reason using the Media Browser may be recommended in the Premiere import guide you linked to, is that it offers a single way to import video that works well for both MOV and AVCHD.
 
Thanks, your response makes so much sense. Thank you!

davedv said:
When shooting AVCHD, importing into Premiere via the Media Browser was usually the recommended approach, because that way Premiere will automatically identify the clips as they were recorded. So even though a single recorded clip might span multiple MTS files in the AVCHD directory, it would get added as a single clip in the timeline when imported through the Media Browser.

In the case of MOV or MP4 files, in which each clip is usually contained in a single file, I am not sure that it really makes much of a difference how the files are imported. As far as I know, all of the relevant metadata should be in the MOV file itself. I believe the other (non-video) files on the SD card are mostly intended for internal usage by the camera.

If I had to guess, the reason using the Media Browser may be recommended in the Premiere import guide you linked to, is that it offers a single way to import video that works well for both MOV and AVCHD.
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nutmegger said:
Just out of curiosity, what is the ISO equivalent when the CX350 gain is set at 0db?
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Found this while browsing through Barry Green's CX350 eBook.

Page 200: "The CX350 is a highly light-sensitive video camera; in my testing it generally
rates at approximately 900 ISO (in NORMAL shooting mode) to 1800
ISO (in HIGH SENS)."
 
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