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MillimeterReview: Panasonic AG-HPX300
Apr 13, 2009 12:00 PM, By Barry Braverman
A camera that fits the zeitgeist.
The LCoS electronic viewfinder features much higher resolution than previous small-camcorder finders, and it's in color. The EVF controls for zebras, brightness, and peaking are controlled via a camera menu and thus may be assigned to a shooter's own User File—a nice touch.
New way of seeing
First consider the camera's tack-sharp color LCoS viewfinder. From experience, we know that focusing HD in a tiny viewfinder can be impossible, so the new high-resolution finder on the HPX300 is a godsend. It's still a bit too small for my taste, but it's a huge improvement over the traditional underpowered CRT-type viewfinders of models past. The camera also features two Focus Assist functions—a bar graph and a magnified center view—in addition to a vastly improved swing-out LCD. The 3.2in. display is so sharp that many one-man-band shooters might consider dispensing with an external monitor altogether.
Of interest to small or one-person crews, the HPX300 uses about 50 percent of the power of a similar-size CCD camcorder, which means that one can shoot virtually all day on a single Anton Bauer Dionic 90—a major plus for the weary pack-mule shooter who no longer has to haul a ton of batteries to a location.
As is characteristic of P2 cameras in general, the external array of switches and controls is laid out logically. No fumbling for shutter control, focus assist, or the scene file dial in the dark of night. The controls are large for Homer Simpson-size hands, and they're pro-grade—identical to the high-end hardware found on the AJ-HPX2000 and AJ-HPX3000 cameras.
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More impressive stuff
The HPX300 is Panasonic's first professional camcorder with a 3-CMOS imager. There are advantages to this sensor beyond its ability to deliver high resolution at an economical price. In night scenes containing specular light sources such as car headlights, the 3-CMOS imager produces sharp images without the flare and vertical streaking characteristics of CCDs.
While the look of CMOS is less organic than CCD in my opinion, the HPX300 nevertheless produces tasteful images thanks to the robust processing and 20-bit DSP. There are no maroon or weird hue shifts to contend with here. The camera's processing integrity and colorimetry is a proven entity; it closely approximates the look and feel of other Panasonic pro cameras (AG-HPX170, AG-HVX200A, AG-HPX500) with CCD imagers.
Like any other camera, the HPX300 is a storytelling tool. Whether it is the right camera for you depends on your particular story's requirements. For shooters who frequently carry their cameras aboard aircraft, it is reassuring that the 3-CMOS imager is impervious to cosmic rays, which can be a potential hazard to CCDs on international flights. Several trips to India last year produced several damaged pixels in the CCD of my Sony PDW-F350, demonstrating why black-balancing the camera is so important. In many models, the procedure covers the vanquished pixels that appear as stationary white specks onscreen. Since the CMOS imager is not subject to this kind of damage, the HPX300 is an excellent choice for shooters who periodically irradiate their bodies and HD gear at high altitudes.
Not-so-impressive stuff
While the HPX300 may produce the most compelling, nuanced images of any sub-$10,000 camcorder, the camera has a few weak spots—most notably the packaged 17X lens.
High-definition, full-raster cameras such as the HPX300 require excellent optics to properly exploit the increased resolution capability. Sure, we see greater picture detail in HD, especially at 1080, but we also tend to see more objectionable lens defects when peering through less-than-stellar optics.
The stock Fujinon 17X 4.5mm lens provides a reasonable wide angle and zoom range, with a standard 8-pin connector for external control. The lens delivers decent, albeit not great, performance with more apparent breathing and barrel distortion than I'm used to seeing or liking in a professional optic. Understandably there is a trade-off here in the quality of the lens, and it is entirely price-driven.
Panasonic recognized the challenge years ago as it endeavored to manufacture high-definition cameras at lower price points. Unlike the camcorders themselves, superior optics aren't getting any cheaper, so the question becomes how to wring the best performance out of what is, in effect, a very modest lens.
Continue the discussion on “Crosstalk” the Millimeter Forum.