Review: Panasonic AG-DVX200

Operational Notes

You can play back clips in-camera, but, oddly, the file browser will let you see only the clips in your current recording format. So if you’re changing things up--some low-bitrate AVCHD, some UHD/4K, some stills, then you need to be aware that there are more clips on the cards than you are seeing in the browser. Unlike media on a smartphone, or even the GH4, it appears the DVX200 won't show everything that's on the card all at once.

The Camera features six "scene" files. Each scene mode covers the following: Variable Frame Rate, Frame Rate, Synchro Scan, Master Detail, Detail Coring, Skin Tone Detail, Vertical Detail, Knee, RB Gain Control, Chroma Level, Chroma Phase, Matrix, Color Correction Setting, Master Pedestal, Gamma Mode, Black Gamma, Black Gamma Range, Knee Mode, Knee Master Point, Knee Slope, Dynamic Range, Dynamic Range Effect, Auto Iris Level, Auto Iris Effect, V-Log L Mode, Flash Band Compensation. That is an extensive amount of parameters to save into individual scenes.

However, you can't seem to change the name of these scenes, like if you do different shoots and one setting is to match a Sony camera, another is a soft filmic look, a third is for a gritty action film you’re shooting, it'd be nice to name these scene files so it's easy to remember which is what. Moreover, it would be nice to be able to save the resolution and frame rate as part of the settings, much like the five different Custom files the GH4 can internally save (Figure 6, below). This way, one can be set for slow motion, another can be a clean 24p. Without that, you have to remember to manually change different settings in different menu areas and that's always a recipe for something getting forgotten.

Figure 6. Not all image parameters can be saved into scene files.

There are, incredibly, 12 user-definable buttons. And each of those buttons can be set to any number of 39 pre-chosen features. You can't choose something that Panasonic hasn't already picked, but the list is pretty extensive. Some of the pre-chosen button features have been labeled on the camera, such as waveform (7), zebra (6), and OIS (5).

The touchscreen is easy to get along with, and you can operate all the menus with the touchscreen, or the little dial on the bottom edge of the camera. Press the dial to enter the menus. The menus are nice and fluid either way. But they are deep and comprehensive with camera and image control. Take time to walk your way through all of them, or read the manual, at least to understand what's in all these menus.

Another feature popping up in camcorders that you can get a taste of with the DVX200 is accessing the camcorder remotely using the USB port on the camera and a WiFi dongle, like JVC's LS300. Panasonic's AG ROP (Remote Operation Panel) app is available for free only on iOS. It enables wireless remote control of the DVX200PJ’s picture quality adjustment, zoom, focus, and REC start/stop. Comparatively, Panasonic's Image App for their still cameras (Figure 7, below) is available on both Android and iOS. JVC's camera management operates in any web browser so it works on anything.

Figure 7. Panasonic’s ImageApp works on iOS and Android.

Being able to shoot with various profiles is one thing, but many cameras now offer LOG capability to eke out a stop or two more latitude by saving the video that comes off the sensor differently. Working with Log requires understanding of the "flat" look you see in camera, and the additional post that it will entail to get the contrast and color back. Panasonic helps this with LOG View Assist in the camera which displays the image with Panasonic's Rec709 color profile while still recording Log (Figure 8, below). This makes it easier to assess exposure, and to assuage clients who wouldn't understand seeing flat footage on the monitor.

Figure 8. Here’s a still from my VLOG tests. Click the image to see it at full size.