Review: Panasonic AG-DVX200

Nits to Pick

As with any camcorder, there are a few nits to pick.

Unlike JVC's large -sensor LS300, the Panasonic can only use the viewfinder OR the LCD screen, not both--unless you flip the LCD screen to face forward. Then both work, but then OSD is turned off. Also, the DVX200 can output video only to HDMI or SDI, not both simultaneously (Figure 9, below). The JVC can send a video signal to all four at the same time. So if you want to attach a 7" SDI monitor on the camera, and want to send 4K HDMI to the video mixer, with the DVX200 you’ll need to find a workaround.

Figure 9. You can’t output to SDI and HDMI simultaneously on the DVX200--you have to choose one. Click the image to see it at full size.

The camera seems to limit you to viewfinder or LCD, except when you spin the LCD around to face your subject in front of the camera, then both work simultaneously. They should both work simultaneously all the time, and the viewfinder can turn itself on when you put your eye up to it, but it doesn't have to turn the LCD off.

The battery takes hours to charge, about 3x your run time. I ran it down in testing and popped it on the charger thinking I'd be able to do a little more after a half hour of charging, but that was not the case. Cell phone “fast charge” technology has clearly not made it to prosumer camcorders; this was one of the slowest chargers I've ever used. Plus, it doesn't have the plugs built in, so you have to remember to carry the detachable power cable. But at least it doesn't require the camera to charge, so you can be out using the camera while you have a second battery charging.

Actual field-of-view from the M43 sensor is basically guesswork. Panasonic’s implementation of the M43 sensor and the various aspect ratios of their still cameras has varied through the years, with the GH2 having a “multi-aspect ratio” sensor that was larger than any of the still or video aspect ratios. This way field of view could be maintained when changing between modes. That went away with the GH3.

Then with the GH4, Panasonic used a pixel-for-pixel mode for 4K and this introduced an additional crop, a reduction of the field of view, versus shooting HD with the exact same lens in the same position. I was surprised to find that no resolution is 1:1 off the sensor, as it is with 4K on the GH4.

Expert writer Adam Wilt has mapped out the various active sensor areas when shooting different resolutions and refresh rates--since the DVX200 has a "Fast Scan" mode to reduce rolling shutter. This is important because each of these various frame sizes gives a different field of view with the integrated zoom lens.

Wilt has given me permission to publish his findings here. It explains why a given focal length will have different field of view, depending on how you have the camera set to record (Figure 10, below).

Figure 10. Adam Wilt’s frame size findings. Click on the image to see it at full size.

So the same lens delivers DCI 4K: 29.5 to 384.9mm (35mm Equivalent), UHD 4K/30: 30.6 to 397.8mm, UHD 4K/60: 37.2 to 483.6, and FHD: 28 to 364mm. And this is not including the "fast scan" modes. Moreover, the focal length is advertised as f/2.8-f/4.5. But applying the same "35mm equivalent" conversion makes this lens a f/5.6-f/9, which is not going to deliver anywhere near the shallow DoF or bokeh as putting a Canon 200mm f/2.8 with a speedbooster (which gives the equivalent of an f/1.8) onto a GH4. So despite the large sensor, don't expect prime-lens shallow DoF with the DVX200.

Playback of different file types appears to be limited to the current settings of the camcorder: "Recording mode options with recorded scenes are displayed in green." So if you're in 24Hz DCI mode, you won't see UHD or other clips. If you're in UHD 50hz, you won't see any p30 or p60 clips, etc. You also have to choose between seeing MOV/MP4 or AVCHD, although, shooting AVCHD severely limits what this camcorder can deliver with very high compression and only HD resolution. My GH4 will show the different clips, but with an exclamation point over them to let you know they can't be played with the current system frequency (Figure 11, below).

Figure 11. My GH4 shows all clips, but with warnings. 

Conclusion

Despite the non-definitive sensor size, scene files that don't save all the camera settings, and other hardware limitations, the DVX200 is an impressive camera. It gives users some of the great capabilities of large-sensor DSLRs without many headaches. It's able record after being pulled from the bag far faster than any DSLR-based system that has to be "rigged up."

While it will never win a "low light" crown, or be considered a "bokelicious" camera due to its fairly high f-stop at portrait and longer telephoto ranges, the inclusion of an integrated servo-zoom, autofocus, image-stabilized lens is what a lot of large-sensor camera users have been waiting for. The ability to add remote focus and zoom control--as well as jam the timecode--make it useful in multi-camera situations. I just wish it could genlock as well.

In part two, I will discuss a series of image tests and log profile shots. I was especially interested to see how well the integrated servo-zoom lens could track someone walking toward the camera (news-style) while the camera was zooming out—i.e., the "walk and talk" shot. This type of shot is basically impossible with a DSLR zoom lens, but a very useful capability to have in live event work, reality TV, documentary, even in general production. Stay tuned.