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MillimeterShoot Review: Panasonic AG-HPX170
Oct 1, 2008 12:00 PM, Reviewer: Jan Ozer
Mulitple-market P2 camcorder sets the usability bar.
The Panasonic AG-HPX170 is smaller and about 1.4lbs. lighter than the AG-HVX200 that precedes it, while using the same 1/3in. progressive 16:9 3CCDs as the HVX200A.
Panasonic's AG-HPX170 delivers groundbreaking new usability features in several key areas, along with excellent color and relatively noise-free video. While the lack of a tape drive makes the camcorder about 20 percent lighter than the popular AG-HVX200 that precedes it, the HPX170 thereby limits you to P2 storage. This is fine for ENG, indie films, and other similar productions, but solid-state media can get pricey and/or inconvenient for event or long-form production shooters. For the record, the camera will retail for $5,695 with a 16GB P2 card, Barry Green's new HPX book, and a very generous five-year warranty.
In terms of hardware specs, the AG-HPX170 is smaller and about 1.4lbs. lighter than the HVX200, while using the same 1/3in. progressive 16:9 3CCDs as the HVX200A. The form factor is familiar, with a .44in. color viewfinder with 235,000 pixels in the back and a 3.5in., 235,000-pixel color LCD on the left. Most controls are on the left, with manual zoom ring and switchable focus/iris ring on the front. The lens is a Leica Dicomar 13X relatively wide-angle lens with a focal length of 3.9mm to 51mm, for a 28mm-to-364mm zoom, which is a 35mm equivalent.
The HPX170 offers an onboard stereo mic and two XLR inputs — mic or line compatible — with phantom power and a headphone jack for monitoring. You can record in 21 modes in DVCPRO HD at 1080/60i, 1080/30p over 60i, 1080/24p over 60i, 1080/24pA over 60i, 720/60p, 720p/30p over 60p, 720p/24p over 60p, 720p/30pN, and 720p/24pN. In DVCPRO 50, DVCPRO, and DV, you can record at 480i/60i, 480i/30p over 60i, 480i/24p over 60i, and 480i/24pA over 60i. In these descriptions, the “N” designation means native recording, recording only the frames required — be it 24, 30, or any of the variable frame rates. The “pA” stands for advance pulldown (2:3:3:2), which allows for an easier extraction for a 24p timeline of the progressive-segmented frames that are recorded in the interlaced standards of 1080 and 480. In 720p, the camera supports variable frame rates of 12/15/18/20/21/22/24/25/26/27/28/30/32/34/36/40/44/48/54/60fps.
In terms of storage, the HPX170 can accept 4GB to 32GB P2 cards, and it will work with 64GB cards when available. The maximum size for individual files on the cards is 4GB, and the camera automatically splits any scenes larger than 4GB. As a rule of thumb, full-bandwidth DVCPRO HD consumes about 1GB per minute, while DV25 consumes 1GB every 4 minutes.
Video output includes SDI, component, and composite with FireWire and USB output for those who don't have a handy PC card slot. On the back are camera remote connectors for remote iris/focus and record start/stop controls. All menu and playback controls are on the top left above the LCD panel. You drive the menu and control playback with an accessible and easy-to-control four-way joystick.
With this as background, let's have a look at the camera's major new features.
Figure 1. It’s simple to attain correct exposure and white balance with the HPX170. The camera’s 3.5in., 235,000-pixel LCD panel includes a waveform monitor (pictured), a vectorscope, and two levels of zebra stripes.
Waveform monitor/vectorscope
Let's face it: Getting exposure and white balance correct is more than half the battle. The HPX170 makes it simple by including a waveform monitor and vectorscope, as well as two levels of zebra stripes. Better yet, the two scopes show up only on the LCD panel, not on the viewfinder, and they remain visible while you're recording. This lets you simultaneously monitor exposure and focus, frame, and shoot with ease.
You access the scopes via a button on the lower-left body panel, clicking once for waveform, twice for vectorscope, and three times to close them both. If you're not a big fan of one scope or the other, you can configure it to your preference, and the switch will simply enable and disable the remaining scope.
There's also a zebra button that lets you toggle between the two configurable settings (I used 80 and 100), so you can check skin exposure and whites, and then clear the screen.
When markers are enabled, the camera also displays the luminance value in the center of the shot. This was particularly useful during white-balancing, because if the value wasn't at or near 99+ (the maximum), I knew lighting was probably inadequate. Overall, if you blow exposure with this camera, it's not because you don't have the tools. It's because you weren't paying attention.
Continue the discussion on “Crosstalk” the Millimeter Forum.