Panasonic P2HDXAG HPX500 User Manual

T E N T A T I V E  
X
P2HD AG-HPX500  
PRACTICAL GUIDEBOOK  
Contents  
P3_4  
1
2
AG-HPX500 Basic Setting for Aquisition  
P5_6  
AG-HPX500 Recording codec and format  
P7_8  
3
Variable Frame Rate Data capacity according to collection format / AG-HPX500 Pre-shooting setup  
AG-HPX500 Pre-shooting setup  
P9_10  
P11_12  
P13_14  
P15_16  
P17_18  
P19_20  
P21_22  
P23_24  
P25_26  
P27_28  
P29_30  
4
5
Hot Swap feature of the P2 system Method of back up various data  
Special Effect Variable Frame Rate  
6
7
Special Recording Pre-REC/One-Shot/Loop REC/Interval REC  
Using P2 Cards  
8
9
From P2 to non-linear editing workstation  
10  
11  
12  
13  
Editing of Advanced mode (pA) Frame rate converter (Software)  
Method of operating P2Viewer  
P2 data back-up and creating archives  
P2-compatible non-linear editing systems other than Apple Final Cut Pro  
P2HD P2HD X AG-HPX500 List of Terms  
X
P2HD AG-HPX500  
AG-HPX500  
Basic Setting for Aquisition  
1
PRACTICAL GUIDEBOOK  
Shooting Procedure  
Operation of the P2 system begins with deciding what to shoot, and how to shoot it (tone, recording format).  
59.94Hz (NTSC) and 50Hz (PAL) settings  
Before shooting with the AG-HPX500, set it to 59.94Hz (NTSC) or 50Hz (PAL).  
CAMERA MENU  
OTHER FUNCTIONS  
SYS MODE  
Select system mode.  
Select 59.94Hz or 50Hz  
(2) Setting the recording format  
Next, under REC FORMAT (recording format),  
select 1080, 720 or 480(576) setting.  
CAMERA MENU  
RECORDING SETUP  
REC FORMAT  
*Selecting 1080 or 720 at this stage will result in HD recording, while selecting 480(576) will result in SD recording (for details, see pp. 5-6)  
(3) Recording format  
= SCENE FILE setting  
CAMERA MENU  
SCENE FILE  
OPERETION TYPE  
Select VIDEOCAM mode or FILMCAM mode.  
*See page 11 for storing scene file.  
VIDEOCAM mode and FILMCAM mode  
AG-HPX500 has VIDEOCAM mode and FILMCAM mode.  
Each mode has some exclusive functions against another mode.  
<Exclusive features of each mode>  
VIDEOCAM mode: Shutter(1/sec.), Special Recording(Loop REC, Interval REC, One-shot)  
FILMCAM mode: Shutter(Angle), Variable Frame Rate  
3
X
P2HD AG-HPX500  
AG-HPX500  
Recording codec and format  
2
PRACTICAL GUIDEBOOK  
Recording codec and format  
Operation of the P2 system begins with deciding what to shoot, and how to shoot it (tone, recording format).  
AG-HPX500 recording codec  
Like the AV-HGX200, the AG-HPX500 has a total of 32  
recording formats (14 HD formats and 18 SD formats) that  
can be selected, depending on shooting conditions.  
The codec for recording to P2 card is DVCPRO HD when  
recording in HD format (1080, 720), while when recording in  
SD format (480/576), DVCPRO 50, DVCPRO, or DV can be  
selected.  
Setting at HD  
Setting at SD  
Image formats and codecs supported by the AG-HPX500  
With the P2 system, it is possible to have recordings in a variety of these formats on a single P2 card,  
but it should be noted that at time of playback, the format must be the same as that used when recording.  
Image format*1  
Recording time*3  
Recording codec  
1080/60i  
1080/24p(over 60i)  
1080/24pA(over 60i)  
1080/30p(over 60i)  
720/60p  
64 minutes  
HD 60Hz  
720/24p(over 60p)  
720/30p(over 60p)  
720/24pN(Native)*2  
720/30pN(Native)*2  
1080/50i  
DVCPRO HD  
160 minutes  
128 minutes  
1080/25p(over 50i)  
720/50p  
64 minutes  
HD 50Hz  
720/25p(over 50p)  
720/25pN(Native)*2  
480/60i  
128 minutes  
480/24p(over 60i)  
480/24pA(over 60i)  
480/30p(over 60i)  
576/50i  
SD 60Hz  
SD 50Hz  
128 minutes(DVCPRO 50)  
256 minutes(DVCPRO/DV)  
576/25p(over 50i)  
*1: "24p" is recorded as 23.98p, "30p" as 29.97p, and "60p" / "60i" as 59.94p and 59.94i respectively.  
*2: Only valid frames will be recorded when in native mode.  
*3: Stated recording times are those when four 16GB P2 cards are used. When one card is used, recording time will be 1/4 of that shown.  
In addition to image format and codec, the function setting and number of cuts may also affect recording time.  
5
Checking the format  
720/24 p(over 60p)  
(1) (2) (3)  
(4)  
(1) Size of angle of view (based on number of vertical lines in the image)  
(2) Frame rate (camera CCD side)  
(3) p = progressive, i = interlace  
(4) Frame rate for this recording format during standard recording  
* (4) will only appear when the CCD frame rate differs from the recording frame rate  
General HD recording methods  
Standard recording  
1080/60i, 50i  
•Suitable for high-definition broadcasting, such as digital terrestrial broadcasting  
•Movies for theatrical release, etc.  
1080/24p(over 60i)  
1080/24pA(over 60i)  
Also known as normal 2:3 pull-down recording.  
•Movies for theatrical release, etc.  
If it is possible to convert 2:3:3:2 advanced pulldown in editing,  
accurate 24-frame conversion is possible.  
Note) Please check with post-production to confirm whether it is possible to  
remove advanced pulldown.  
* Please refer to "Importing to 6-1 FCP" for the details of advanced pull-down  
removal in Final Cut Pro.  
1080/30p(over 60i)  
1080/25p(over 50i)  
•Commercials, music videos, CG synthesis, Blu-Ray/HD-DVD content  
720/24p(over 60p)  
720/30p(over 60p)  
720/25p  
Commercials, music videos, CG synthesis, video for public urban broadcast,  
Blu-Ray/HD-DVD content, Web video, mobile-terminal video, etc.  
720/60p  
[720/24p(over 60p) might be used for Movies for theatrical release.]  
720/50p  
6
Shutter speed guide  
• Shutter speed (default)  
.
60i 60p mode  
1/60(OFF), 1/100, 1/120, 1/250, 1/500, 1/1000, 1/2000 second  
1/30, 1/50(OFF), 1/60, 1/120, 1/250, 1/500, 1/1000 second  
1/24, 1/50(OFF), 1/60, 1/120, 1/250, 1/500, 1/1000 second  
1/50(OFF), 1/60, 1/120, 1/250, 1/500, 1/1000, 1/2000 second  
1/25, 1/50(OFF), 1/60, 1/120, 1/250, 1/500, 1/1000 second  
30p mode  
24p/24pA mode  
.
50i 50p mode  
25p mode  
• Shutter speed (variable)  
60i mode  
1/60.0 - 1/249.8  
1/30.0 - 1/249.8  
1/24.0 - 1/249.8  
1/50.0 - 1/249.8  
1/25.0 - 1/249.8  
30p mode  
.
24p 24pA mode  
.
50i 50p mode  
25p mode  
• Shutter speed (slow)  
.
60i 60p mode  
1/15  
1/15  
1/12  
1/12  
1/12  
1/30 30p mode  
.
24p 24pA mode  
.
50i 50p mode  
1/25 25p mode  
(4) Gamma Setting (Eight-Mode Gamma)  
Drawing on technologies developed for the VariCam, Panasonic has  
equipped the AG-HPX500 with advanced gamma functions that  
address eight different shooting scenarios and expand your creative  
abilities. Included are Cine-Like Gamma, which gives recordings the  
characteristic warm tone of film recordings, and a News Gamma that's  
designed especially for news gathering.  
7 Gamma modes are preset in Gamma menu.  
AG-HPX500 Gamma Modes  
NEWS:  
Minimizes washout to faithfully capture all visual  
information especially in the highlights  
HD NORM:  
LOW:  
Suitable for HD recording  
Works to flatten out high-contrast scenes  
Normal setting for SD  
SD NORM:  
HIGH:  
Provides additional contrast and color gradation  
Provides more contrast and richer blacks to low-contrast scenes  
Shifts the Cine-Like mode to prioritize dynamic range  
Shifts the Cine-Like mode to prioritize contrast  
NEWS Gamma is set as independent menu.  
B.PRESS:  
CINE-LIKE_D:  
CINE-LIKE_V:  
Setting NEWS gamma ON causes not  
selecting other gamma.  
For Cinema shooting, recommend to select CINE-  
LIKE_D or CINE-LIKE_V, and adjust chroma level etc.,  
so that you can get film-like tone footage as you want.  
Your original setting can be stored on each scene file  
dial.  
4
Variable Frame Rate  
Data capacity according to  
collection format  
X
P2HD AG-HPX500  
3
PRACTICAL GUIDEBOOK  
Variable Frame Rate-capable recording modes  
About the difference between Native (pN) and "over60p" Mode  
When recording in native (pN) mode, it is possible to check data recorded at Variable Frame Rate (VFR), such as slow  
motion or quick motion, with camera output. Also, only valid frames are recorded, extending the recording time and  
allowing more data to be stored on the P2 card than is possible in normal mode. (See accompanying table)  
Over60 = Varicam-compatible mode; VFR recording is possible, but the difference in pulldown systems makes it  
impossible to check the VFR with camera output. A frame rate converter such as hardware or NLE should be used.  
About standard recording (over60)  
As with Varicam, regardless of the camera's frame rate setting, recording will occur at 60 frames per second (over60).  
For example, when 24p mode is selected, 60 frames will be recorded with 2:3 pulldown. Thus, no matter what frame rate  
is selected, it is necessary to have the storage capacity for 60 frames, including duplicate frames. The advantages of  
standard recording are: output from the IEEE 1394 interface to DVCPRO HD is possible during recording, and when  
recording for extended periods, FS-100 data storage or DVCPRO HD tape storage in the AJ-HD1400, etc., is possible.  
For undercrank and overcrank shooting, as long as special effects are not required, shooting in native mode  
(30pN/25pN/24pN) is recommended in order to save space on the P2 card.  
*To check variable frame when using 720p, a frame rate converter (hard device such as the AJ-FRC27, or similar software) is necessary.  
About native recording  
30pN/25pN/24pN are recording formats. The letter "N" indicates Native. In native mode, video data is recorded on the  
P2 card at the frame rate used by the camera. In this mode, it is possible to record on a P2 card for 2 to 2.5 times as  
long as in standard (30p/25p/24p) mode. Another major advantage of native mode is that it allows on-the-spot playback  
of variable frame data without a frame rate converter. After recording, it is possible to output to DVCPRO HD from the  
IEEE 1394 interface.  
*Native recording is the recommended mode for chroma key synthesis.  
Usage of native recording  
720/24pN  
720/30pN  
Commercials, music videos, CG synthesis, Blu-Ray/HD-DVD content,  
Web video, mobile-terminal video (progressive moving image), etc.  
720/25pN  
Variable frame rate functions at the 720P setting when "OPERATION TYPE" is set to FILM CAM.  
Data capacity for each recording type (DVCPRO HD)  
Standard recording 1G=1 minute  
Native recording  
1G=2 minutes (using 30pN/25pN)  
1G=2.5 minutes (using 24pN)  
Recording time for P2 card using VFR (16GB)  
Recording time*3  
Recording time  
Format *1  
Recording codec  
DVCPRO HD  
(One card using)  
(Four card using)  
720/60p  
720/50p  
16 minutes  
64 minutes  
720/24p(over 60p)  
720/25p(over 60p)  
HD  
720/30p(over 60p)  
720/24pN(Native)*2  
40 minutes  
32 minutes  
160 minutes  
128 minutes  
2
720/25pN(Native)*  
2
720/30pN(Native)*  
*1 "24p" is recorded as 23.98p, "30p" as 29.97p, and "60p" / "60i" as 59.94p and 59.94i respectively.  
*2 Only valid frames will be recorded when in native mode.  
*3 When using 8GB P2 cards or mini DV tape, the stated recording times are valid when using two P2 cards, or when using AY-DVM60, respectively. When one 8B card is used,  
recording time will be 1/2 of that shown.  
7
AG-HPX500  
Pre-shooting setup  
4
Pre-shooting setup (1)  
(*The contents of this section are intended for users who are not accustomed to working with professional video cameras.)  
The camera design of the AG-HPX500 is a chassis design suitable for use by broadcasting professionals, and it may  
seem difficult to use for those accustomed to using the AG-HVX200. However, once an understanding of the essentials  
of setup and operation has been gained, shooting becomes easy for any user, including AG-HVX200 users.  
Lens setup, battery setup, audio setup, etc.?  
Setup specifications for the professional-quality video camera  
Lens setup  
As the lens mount of the AG-HPX500 is a "B4 mount," the type generally found on video cameras for professional  
or broadcasting use, a wide variety of professional-quality lenses can be used. However, in order to obtain the  
benefits of the AG-HPX500's unique Chromatic Aberration Compensation (CAC) function and get the best color  
results, use of one of the maker-endorsed digital HD lenses (shown below) is recommended.  
Canon (3 varieties)  
KJ10ex4.5B IRSD PS12  
KJ16ex7.7B IRSD PS12  
KJ21ex7.6B IRSD PS12  
Fujinon (2 varieties)  
XA17x7.6BERM-M58B  
XA17x7.6BRM-M58B  
*The above list shows compatible lens varieties as of Feb. 2007. The range of compatible lenses is expected to grow in the future.  
*2/3-inch mount-compatible HD cine-lenses such as Carl Zwiss Digiprimes may also be attached.  
*Note) It may be possible to use some high-performance SD lenses, but when using lenses other than those endorsed by the maker,  
please be aware that there is a risk of adverse effects such as vignetting (reduction of the image periphery) or color bleeding.  
Things to keep in mind when using a 35mm film lens adapter with the AG-HPX500  
*When shooting movies or commercials with a 35mm film camera lens, it is possible to shoot using a lens  
adapter, but please be sure to use an adapter for a 2/3-inch lens.  
(For example, when using a P + S Technik image converter, use a pro35 which is compatible with a B4 mount,  
rather than a mini35 such as is used with the AG-HVX200.)  
*Also, in such a case, depending on the equipment, there is a possibility that the image will be recorded upside  
down. If this is occurring, one can invert the LCD monitor while shooting, but it is impossible to invert the  
viewfinder or the HD-SDI output. It is necessary to flip the image using a nonlinear editing system.  
8
X
P2HD AG-HPX500  
AG-HPX500  
Pre-shooting setup  
4
PRACTICAL GUIDEBOOK  
Pre-shooting setup (2)  
Battery setup  
For the AG-HPX500 battery bracket, attachment of an Anton bracket  
(Gold Mount) for professional-quality batteries is standard. The battery  
menu also lists items made by other companies, and their compatible  
V-mount batteries (at the automatic default setting, 12 varieties are  
listed), so any professional-quality batteries in general use can be  
used. Also, the camera has full compatibility with info lithium batteries,  
so if one selects battery from the menu, the battery information  
(display of quantity remaining, etc.) will be returned via the viewfinder.  
(Note that the camera is not compatible with the small battery used in  
the AG-HVX200.)  
Audio setup  
With the AG-HPX500, a Canon connector (3-pin XLR) can be used for  
the audio input, and individual sounds can be matched independently,  
so separate audio strains can be input with 1/2ch. Phantom +48v  
power supply is also possible, so efficient mikes such as gun mikes  
can be directly connected.  
(*No slot-in wireless function)  
Setup for shooting: Gain / Iris / WB  
Lens, iris and image quality adjustment  
The lens may be one of the most difficult parts of the camera to understand, but when compared with the AG-HVX200, the  
lack of auto-focus is the only substantial difference. Otherwise, it can be used in much the same way. The focus must be  
adjusted manually, but setting the focus in advance makes this easy. First, zoom in the object you want to shoot, rotate the  
focus ring adjust it, and then adjust zoom as you want..  
Iris adjustment may be done automatically, but there is also an easy way to do it manually. Turn on the zebra pattern inside  
the VF (viewfinder), and then adjust the iris ring so that the zebra pattern does not appear on the object you wish to shoot  
(for example, on the skin of a person you are shooting.) The zebra pattern setting (within Camera Setup) should be 100% (or  
95%). The VF and LCD monitor of the AG-HPX500 do not respond to HD signals, so when capturing on a site where you  
require a more severe focus, use an SD connection to an external monitor such as the optional 7.9 inch/multi-format monitor  
in order to confirm that the image has HD picture quality.  
9
Setting the WB (White Balance)  
(1) Set the WHITE BAL switch to A or B. Separate settings are created for the  
A and B channels (e.g.: Cloudy/Fine, Outdoor/Indoor).  
(2) Place a grayscale chart (see right) or a white piece of paper in the same  
location as the setting for your shot and zoom in so that it completely fills  
the screen.  
(3) Adjust the lens aperture. Use the normal Auto Iris function to set the  
aperture.  
(4) Push the AWB switch upwards to set the white balance.  
(5) Push the AWB switch downwards to set the black balance (BB).  
(6) Push the switch up again to set the white balance more precisely.  
WB adjustment technique  
When setting the WB, one can experiment with disrupting the color  
temperature and giving the image a warmer feel by selecting warmer color.  
Some high-grade inkjet papers have a small amount of blue mixed in, in  
order to bring out the white more, and it can be interesting to line up a few  
different types of "white" paper and observe the differences in hue.  
(Another trick is to cover the lens with a white.)  
Flange Back = Back Focus = Rear Focus  
Because cameras such as the AG-HPX500 that use B4 mounts are  
designed to allow easy lens removal, the distance from the mount to the light-  
incident surface of the CCD (the "flange-back" distance) sometimes differs  
slightly depending on the camera (or lens) used. So if you change the lens-  
camera combination, the back focus will need to be adjusted. If the back  
focus is incorrect, images will not be correctly focused for either macro shots  
or telephoto shots. Adjust the flange back (F/B) distance using a chart such  
as the one attached.  
Gain  
Adjust the gain when shooting at outdoor locations, or other places where the  
brightness is outside the standard range. The toggle switch on the side of the  
camera has three sensitivity settings assigned standards of 0db / +6db /  
+12db, but it is possible to change each number individually, shifting  
according to the lens one is using.  
The ?12db setting gives a grainy image, and is rarely used. When possible, it  
is best to assign a value of +9dB instead.  
Selecting a tripod  
It is assumed that the AG-HPX500 will rarely be swung around freely in the manner of  
the AG-HVX200, and even when shooting the same scene, the AG-HPX500 has  
different requirements. It may be necessary to set Gamma, to adjust the black level to  
boost reproduction of dark areas, and during extremely slow zoom-in/zoom-out, or for  
simple fixes, especially with interval shooting (see p. 15), a tripod allowing firm  
positioning and very smooth movement is a necessity. Compared with the AG-  
HVX200, it is a larger camera both in terms of chassis and in terms of mass, and a  
suitable tripod must be selected or it will be unstable.  
Stable picture quality can be obtained by selecting a tripod by a well-known maker,  
such as the Sachtler System 18, the Vinten Vision 11, or a comparable tripod.  
10  
X
P2HD AG-HPX500  
Hot Swap feature of the P2 system  
Method of back up various data  
5
PRACTICAL GUIDEBOOK  
Hot Swap feature of the P2 system / When using 2 or more P2 cards  
When recording on location, the Hot Swap feature is the greatest blessing of a P2 card system camera. With  
tapes, other types of hard disks or Blu-Ray disks, replacing the media while the camera is operating or recording,  
and continuing to capture, is of course impossible. With the P2 system, however, if one has at least 2 cards and a  
PC, or a P2 data storage device such as P2 Store or P2 Gear, etc., it is possible to capture continually for a  
longer period of time than the capacity of a single P2 card would allow.  
The AG-HPX500 has four P2 card slots, thus it is possible to record for such extended periods of time as the  
capacity of 4 cards allows (if using 16GB cards, up to 64GB.)  
Note) About recording order of slots  
When P2 cards are inserted in all 4 slots at once, data will generally be  
stored on the cards in ascending order (1 -> 2 -> 3 -> 4). However,  
phenomena in which the data is not stored in this order may occur? for  
example, if one switches from standard recording to native recording (24pN,  
25pN, 30pN).  
Even though the TC (time code) is recorded at an absolute address, thus  
when the data is loaded into a nonlinear editing system, etc., data files will  
line up in the order in which they were shot, so there is no risk of trouble.  
Saving Scene Files and User Files  
With the AG-HPX500, six presets are provided as Scene files and the camera features a dedicated Scene File  
dial that lets you instantly recall the preset that best fits the shooting conditions.You can save and load up to 8 files  
on an SD card, with each file containing a Scene file with accompanying settings.  
(*Compared with a maximum of 4 files saved/loaded on the AG-HVX200.)  
Copying To and Loading From SD Cards  
CARD FUNCTION  
Select SCENE FILE YES and confirm. (Press the OK (Still  
/Pause) button.)  
Use the or button to select the file number to be saved.  
Select WRITE and confirm. (*To load a file from the SD card, select READ.)  
(* In this procedure you can also type in a file name.)  
Use the  
button to display YES and confirm.  
Press the MENU button 4 times to exit menu mode.  
11  
Backup recording of data output  
from the IEEE 1394 interface  
Footage recorded on the AG-HPX500 can be  
recorded and backup copies made on an  
external device such as an HDD connected to  
the IEEE 1394 interface.  
External hard disk  
Specialized P2 hard disk unit:  
FOCUS FS-100  
Connecting to an external tape deck (AJ-HD1400)  
(When storing data on a DVCPRO HD tape, etc.)  
Note) One-shot REC, loop REC, interval REC data cannot  
be backed up using the IEEE 1394 interface.  
Control settings for connected backup devices  
OTHER FUNCTIONS  
1394 CONTROL  
(Equipped with 4 modes)  
OFF: Quit control of connected backup  
device  
EXT: Control connected backup device  
using the camera START/STOP button.  
Recording operations cannot be carried  
out within the camera itself when in this  
mode.  
BOTH: Record simultaneously onto both  
the camera and the connected backup  
device.  
CHAIN: Connected backup device  
begins to record automatically when  
recording capacity of the P2 cards fall to  
a low point during recording.  
Setting the connected backup device to quit operation when the  
camera's START/STOP button is pushed  
OTHER FUNCTIONS  
1394 CMD SEL  
REC_P: Pauses during recording  
STOP: Stops recording  
Note) When the connected backup device is not  
equipped with a Record Pause function, choose STOP.  
12  
X
P2HD AG-HPX500  
Special Effect  
Variable Frame Rate  
6
PRACTICAL GUIDEBOOK  
Variable Frame Rate - Overcrank/Undercrank shooting  
Variable Frame Rate (VFR) shooting is the most distinctive feature of AG-HPX500.  
You need to select 720p mode and follow the next page procedures.  
The basic operation procedures are the same as AG-HVX200.  
Overcrank shooting  
This is a type of slow-motion effect, known as High Speed (HS). In Progressive mode, when the recording format  
is set to 24 fps (24p, 24pN), 25 fps (25p, 25pN) or 30 fps (30p, 30pN), you can shoot slow-motion video by setting  
a higher than original frame rate, up to a maximum of 2.5 times the original rate (60 fps set in 24p mode).  
Undercrank shooting  
This is the opposite of the overcrank concept. By setting a lower frame rate than that of the selected format  
(less than 24, 25 or 30), you can shoot fast-motion video that looks speeded up when you play it back.  
13  
Procedure for using VFR (required settings)  
1. Set the camera mode to FILMCAM.  
CAMERA MENU  
SCENE FILE  
OPERATION TYPE  
Select the "FILMCAM"  
2. Set the recording mode to 720p. (VFR effect can only be seen instantly in Native mode.)  
RECORDING SETUP  
REC FORMAT  
Select any of 720p modes.  
3. Set the frame rate to one of rates between 12 and 60(50).  
SCENE FILE  
FRAME RATE  
Select frame rate.  
(Frame rates between 12 and 60(50) can be set.)  
With these 3 steps, you are ready to shoot in VFR mode. Note also that during Progressive shooting in modes other than  
Native mode, the camera records in the over60p format, so that on-site (camera output) slow- or quick-motion video checking  
or monitor checking is not possible.  
14  
X
P2HD AG-HPX500  
Special Recording  
Pre-REC/One-Shot/Loop REC/Interval REC  
7
PRACTICAL GUIDEBOOK  
Special Recording  
AG-HPX500 has some other special recording modes.  
Special recording requirements: Recording is possible in the conditions below.  
(1)OPERATION TYPE  
(2)Recording formats  
VIDEO CAM mode  
1080/60i, 1080/50i, 1080/30p, 1080/25p, 720/60p, 720/50p  
720/30p, 720/25p, 576/50i, 576/25p, 480/60i, 480/30p  
Pre-REC  
This allows you to record video and  
audio for a set period prior to the  
record button actually being pressed  
(approx. 3 seconds for HD recording  
and approx. 7 seconds for SD  
recording).  
Note) Pre-REC does not work in the following shooting modes:  
•When recording through IEEE 1394 input •Starting to record during playback •During interval recording  
•During One-shot recording •During Loop recording  
One-shot recording  
This mode records certain frames by setting. This mode is like a still camera mode.  
Note) Files recorded during One-shot recording are collected together into a single file.  
Loop Recording  
If you are inserting 2 or more P2 cards into the slots, this mode lets you record indefinitely by successively  
switching cards until you are ready to stop. This is especially effective for shooting fixed-point observations.  
*1) To pause Loop recording, you can stop recording using the Start/Stop trigger, but to release the Loop recording you  
need to select NORMAL in the REC FUNCTION settings.  
*2) Use at least two P2 cards each has 1 minute or more of remaining recording time.  
*3) Recording stops when either P2 card is removed.  
15  
Interval Recording  
Interval Recording records a single frame at set intervals.  
This feature can be used for applications such as recording shots of a set location over long periods of time.  
*1) Audio is not recorded.  
*2) Files recorded using Interval recording are collected together into a single file.  
Note) All the above Special recording modes are started by pressing the camera's Start/Stop trigger,  
but Interval and One-shot recording are stopped by pressing the STOP button  
on the camera deck.  
Settings for special recording modes  
1. Select "VIDEOCAM" in the menu of scene file. 2. Select one of the following recording formats.  
CAMERA MENU  
1080/60i, 1080/50i, 1080/30p, 1080/25p,  
720/60p, 720/50p, 720/30p, 720/25p,  
576/50i, 576/25p, 480/60i, 480/30p  
SCENE FILE  
OPERATION TYPE  
Select "VIDEOCAM"  
Pre-REC  
Interval REC/Loop REC/One-shot  
3. RECORDING SETUP  
3. Select Interval, Loop or One-shot recording  
PREREC MODE  
RECORDING SETUP  
Set PREREC MODE "ON"  
REC FUNCTION  
INTERVAL REC  
LOOP  
ONE SHOT  
4. Select a setting for the Interval "time" or One-shot "time"  
RECORDING SETUP  
1F, 2F, 4F, 8F, 16F, 1s  
ONESHOT TIME  
INTERVAL TIME  
2F, 4F, 8F, 16F, 1s, 2s, 5s, 10s, 30s, 1m, 5m, 10m  
Note) When you are using Interval, Loop or One-shot recording, you cannot make backup recordings through the IEEE1394.  
16  
X
P2HD AG-HPX500  
Using P2 Cards  
8
PRACTICAL GUIDEBOOK  
Using P2 Cards  
Recorded images can be checked on the AG-HPX500's  
LCD monitor as thumbnails of each file.  
Basic thumbnail operations  
Select MCR mode  
by pressing mode button.  
Press MENU button to display thumbnail menu.  
(MENU buttons are located under inside of  
LCD and front side of the camera.)  
Use the  
or  
button to select a thumbnail.  
(The yellow frame indicates the selected thumbnail.)  
Playing back selected file  
Select the thumbnail you want to play and press the  
button.  
Note) You need to set the same recording format as the clip you  
want to play.  
Select Slot  
Follow the procedure below to select which of the four P2 card  
slots on the AG-HPX500 will be used for playback.  
Press the MENU button  
on the thumbnail screen.  
In the menu, press the  
or  
button to select  
THUMBNAIL and then press the  
button.  
Then, from the same menu, press the  
or  
button to select  
SHOT CLIPS and select the slot you want to use.  
17  
Deleting Clips and Formatting P2 or SD Card  
This section describes how to delete individual clips and how to format a P2 card or SD card.  
* Recommend to format a P2 card on a P2 camera or other P2 device.  
To delete clips:  
Select the clip you want to delete in the  
thumbnail screen and press the MENU button.  
In the menu, press the  
or  
button to select  
OPERATION and then press the  
or  
button.  
Select DELETE and press the  
button.  
To format a P2 or SD card:  
Insert the P2 card or SD card you want to format.  
In the menu displayed in the thumbnail screen,  
press the  
or  
button to select OPERATION and then press the  
or  
button.  
Select FORMAT, select the slot (1-4) or the SD card in the card selection  
screen and then press the button.  
Select whether or not to proceed with formatting.  
Data stored on P2 cards  
TOPIC!  
When you store images on a P2 card,  
an hierarchical structure such as that  
shown in the figure right is created on  
the card.(This is of Final Cut Pro.)  
"Data stored on a P2 card" refers to the entire data structure on the card including the CONTENTS  
folder. When you copy or back up P2 card data, you must copy all the data on the card.  
Note) You need to copy not only the CONTENTS folder, but all the data.  
Note) If you back up just the MXF files in the VIDEO folder, you will not be able to play the video.  
* For more information on the backup procedure, see P.25-26, "Making Backups and Archives".  
18  
X
P2HD AG-HPX500  
From P2 to non-linear editing workstation  
9
PRACTICAL GUIDEBOOK  
From P2 to non-linear editing workstation  
Ingesting procedures  
using Apple's Final Cut Pro  
In this section, Apple's non-linear  
editing system Final Cut Pro is  
featured to show you examples of  
editing data from P2 card(s).  
Mounting P2 card onto the computer's operating system via AG-HPX500  
1.From the SETUP menu, select  
OTHER FUNCTIONS  
PC MODE followed by 1394 DEVICE  
2. Press the camera's MENU button twice, to exit from the menu mode.  
3. Press the function mode button to turn the MCR lamp on. Press and hold the button (for more than 2 seconds) to enter the PC mode.  
DEVICE CONNECT is displayed; P2 card is mounted, with its icon appearing on the desktop.  
Note: To exit PC mode, unmount (eject) the P2 card on the Desktop, and turn the camcorder off.  
* If the P2 card icon does not appear on the Desktop  
Application  
Utilities  
Disk Utility (as shown in the screenshot).  
In the left column, select the P2 card marked with gray,  
then click Mount.  
Note: In order to mount the PC card using the PowerBook's  
PC card slot, you will need to install the P2 card driver.  
19  
Using Final Cut Pro to capture P2 data  
The P2 card data must be converted to Quicktime before being edited on Final Cut Pro. Therefore, you will need  
to configure "Scratch Disks" under "System Settings" prior to capturind data, as with any other data capturing.  
Captured P2 data will be stored as a Quicktime file in the Capture Scratch folder specified under "Scratch Disks".  
From the pulldown menu, select:  
File -> Import -> Panasonic P2.  
As seen in the example right, list of data on the P2 card  
is automatically displayed in the browse section.  
Select a data in the browse section to preview.  
As in the same manner as handling a magnetic tape  
medium, you can specify in/out time for capturing.  
To capture the clip being previewed, press the  
"Add clip to the queue" button.  
To capture one or more items from the browse section,  
select item(s), then press "Add selected to the queue"  
To capture all clips in the P2 card  
Click "List View" to switch the hierarchical display.  
Select the P2 card, and drag it to the queue.  
This way, all clips in the card or folder are captured.  
* When capturing of the P2 card is completed, unmount the P2 card from the Desktop, then disconnect the camcorder.  
20  
X
P2HD AG-HPX500  
Editing of Advanced mode (pA)  
Frame rate converter (Software)  
10  
PRACTICAL GUIDEBOOK  
Configuring Removing Advanced Pulldown / Duplicate frames  
Removing Advanced Pulldown  
Removing duplicate frames in standard-recorded data  
To capture P2 data recorded using advanced mode such as 24pA into Final Cut Pro, you must first remove  
advanced pulldown (2:3:3:2 pulldown) to delete unnecessary frame fields, so that 24 fps (23.98, to be more  
precise) progressive video can be handled correctly.  
Click the button shown on the screen capture image  
below "Importing from Panasonic P2",  
and select "Settings...".  
"Import settings" window appears, as shown below;  
select the checkbox.  
Importing P2 data backed up on a hard drive  
Click "Add folder" in the importing window,  
to select the folder on the drive containing data.  
Note:You cannot import data into FCP by directly selecting an  
MXF file in CONTENTS.  
(* Refer to "P25-26 Data back-up and other recording method"  
for detailed explanation of how to back up data.)  
21  
Installation of frame rate converter  
If variable frame rate (over 60p/50p mode) is used  
If overcrank/undercrank shooting was done using variable  
frame rate and over60p mode, you will not be able to  
execute slow/quick playback without using a frame rate  
converter.  
Therefore, you will need to install the frame rate converter  
plug-in for Final Cut Pro. The frame rate converter plug-in  
is included in the Final Cut Pro 5.1 (or Final Cut Studio)  
installation disk.  
* In the case of native mode recording (24pN, 25pN, and 30pN),  
you can directly edit the captured data.  
Examples of exporting data from FCP  
• Writing AJ-HD1400 via IEEE1394 connection  
• Writing to a professional HD deck, via PCI card video interface  
(such as Decklink by Blackmagic, or Cona by AJA) capable of HD-SDI output  
Tapeless, lossless direct data conversion using Apple Compressor  
(for webcasting format such as H.264, MPEG2 for DVD, and various other data conversion)  
HD-SDI  
Professional Use  
HD VTR  
Linear HD Editing  
IEEE1394  
HD/Digital  
Post Production  
AJ-HD1400  
DVD  
Mac Pro & FinalCutPro  
(With PC card interface)  
Aple Compressor  
H.264  
Web  
* For webcasting, progressive mode shooting is recommended.  
22  
X
P2HD AG-HPX500  
Method of operating P2Viewer  
11  
PRACTICAL GUIDEBOOK  
Creating archives using P2Viewer  
P2Viewer is a software program to manage data exclusively for P2  
card and other P2 compatible equipment. You can use this software  
to copy multiple cards into one folder, or copy selected clips.  
Where to obtain P2Viewer  
P2Viewer screen  
The composition of the main window greatly divides into four areas.  
Bin area  
View area  
Memo area  
Property area  
Archiving of P2 cards  
In the pulldown menu, select "Show"  
-> "Show Primary Bin"  
-> "All P2 cards",  
to show all clips in the P2 cards  
currently inserted.  
23  
Next, select the storing destination.  
In the pulldown menu, select "Tool"  
-> "Configuring Virtual P2 card ...".  
In the "Virtual P2 card configuration" window,  
click the registration button to newly create a folder  
on the hard drive where the data is stored.  
On the screen capture image below,  
"D:\testP2" is the newly created folder.  
Note: The folder indeed is the Virtual P2 card.  
Next,  
select "Show"  
-> "Show Secondary Bin"  
-> "New folder" in the pulldown menu.  
Bin area display is divided horizontally.  
On the screen capture image below,  
"D:\testP2" is the newly created folder  
From the Primary Bin displayed on the upper section,  
select the clip you wish to copy ,  
and drag-drop onto the Secondary Bin  
on the lower section.  
Drag and drop  
* You can use P2Viewer to take numerous P2 cards, and copy all data into one single folder.  
* Prior to copying, make sure that you have enough hard drive space.  
24  
X
P2HD AG-HPX500  
P2 data back-up and creating archives  
12  
PRACTICAL GUIDEBOOK  
P2 data back-up and creating archives  
Backing up data onto a HDD (1394 HOST mode)  
<Procedures>  
1.Connect the HDD to the AG-HPX500 with an IEEE1394 cable and then turn on the HDD.  
2. In the Setup menu:  
From OTHER FUNCTIONS,  
select PC MODE -> Select 1394HOST and press  
.
3. Press the MENU button twice to exit menu mode.  
4. Use the operation mode button to turn on the MCR lamp and then hold the button down for at least 2 seconds.  
-> The PC lamp lights and the camera switches to PC mode.  
5. If the HDD has not been formatted,  
use the  
or  
button to select FORMAT (HDD) and press the  
button.  
-> HDD formatting begins.  
6. When formatting ends, use the  
or  
button to select COPY TO HDD  
and press the  
button.  
7. Use the  
or  
button to select one of the card slots (1 to 4) and press  
.
A slot selection confirmation message (displaying YES or NO) then appears.  
To proceed with copying the files, select YES and press the  
8. When copying ends, turn the camera off.  
button. -> Copying begins.  
* Notes on copying files  
• Ensure that there is ample free space on the HDD for the copied files.  
• Format the HDD for use with the AG-HPX500 beforehand. (Formatting erases all the data on the HDD.)  
• Do not make multiple connections (daisy-chain or hub) to the HDD, even while it is turned off.  
You can copy up to 15 P2 cards onto a single hard disk.  
25  
Backing up from AG-HPX500 to a HDD  
After step 4 in the above procedure, you can check the contents of the HDD by using the  
or  
button to  
select PROPERTY and pressing  
.
You can view the details of items on the hard disk by selecting an item using  
or  
and then pressing  
.
* You are allowed to copy up to 15 cards onto one hard disk.  
Backing up data onto a HDD using an OS  
You will copy the entire content of the P2 card into a newly created folder on the hard drive. During the  
procedure, do not change the folder name "CONTENTS".If you wish to back up more than two P2 cards, you  
must create a named folder for each, then copy data as described above.  
When naming each folder, use number scheme such as 001, 002, ... to help clarify the order of recording.  
Note 1: Do not copy the CONTENTS folder only; copy the folder containing CONTENTS and other files in the same directory.  
Note 2:You won't be able to play back data by copying only the MXF files in the VIDEO folder.  
* To import a folder backed up on the HDD using Apple Final Cut Pro, select the folder on the HDD from within the  
P2 importing screen using "Add Folder".You cannot import video by selecting the MXF files in CONTENTS.  
Refer to "Importing P2 data backed up on HDD" for detailed instruction.  
Creating archives using FCP  
(B)  
From the pulldown menu, select:  
File -> Import -> Panasonic P2.  
(A)  
From within the Panasonic P2 import screen, press the hierarchy  
list display button (A). Select the P2 volume to copy, and click the  
pulldown menu (B) to select "Create an archive folder...".  
* You can also select the P2 volume, press the control key (right-clicking of the mouse) and click to select  
"Create an archive folder..." from the shortcut menu.  
Combining P2HD data and HDV data  
You cannot combine data shot using a P2HD in a camera such as the AG-HPX500  
and HDV data shot using an HDV camera on the same timeline in a non-linear editing  
TOPIC!  
system. P2 system HD data is recorded using the DVCPRO HD codec while HDV  
data is recorded using the MPEG-2@TS codec. As such, the data types are  
completely different and combined editing on the same system is virtually impossible.  
To edit HDV data and P2 data together, you need to convert the data to a uniform  
codec by, for example, converting the HDV data to the DVCPRO HD codec.  
26  
X
P2HD AG-HPX500  
P2-compatible non-linear editing systems  
other than Apple Final Cut Pro  
13  
PRACTICAL GUIDEBOOK  
P2-compatible non-linear editing systems other than Apple Final Cut Pro  
or the latest compatibility information for Windows-based non-linear editing systems and  
P2-based equipment, visit the following URL:  
* For compatibility with Windows Vista and related information regarding the latest updates and patches for  
each software, visit the manufacturer's web site, or contact the manufacturer/vendor directly.  
Canopus EDIUS Pro Version 4 and REXCEED series  
Avid Xpress Pro / Avid Media Composer  
Media Composer set  
Appendix: Information regarding composition and post-processing of images  
The following data/information are required following the non-linear editing work to move on to work with  
compositing software or go into post-production. While working with compositing or editing of extracted still images,  
share the following information with your operators and designers to work on compositing processes more efficiently.  
Data size  
Pixel ratio  
Interlace  
280 x 1080 pixels  
1.5  
odd number fields are prioritized  
1080 size  
When displaying images on Adobe Photoshop, set the horizontal/vertical pixel ratio to 1.5 for accuracy.  
* If you are preparing still images for printing, correct the resolution to 1920 x 1080.  
The pixels will need to be set back to "square".  
Data size  
Pixel ratio  
960 x 720 pixel  
1.33  
720 size  
* If you are preparing still images for printing, correct the resolution to 1280 x 720.  
The pixels will need to be set back to "square".  
Data size  
Pixel ratio  
Interlace  
1440 x 1080 pixels  
1.33  
odd number fields are prioritized  
PAL mode  
(50p/25p)  
1080 size  
* If you are preparing still images for printing, correct the resolution to 1920 x 1080.The pixels will need to be set back to "square".  
27  
P2HD EQUIPMENTS  
The latest P2 equipment  
P2 card  
8GB AJ-P2C008H  
16GB AJ-P2C016RG  
32GB AJ-P2C032RG  
AG-HPX500  
AG-HVX200  
P2 store  
P2 drive  
AJ-PCD20  
P2 mobile  
P2 Gear  
AJ-PCS060G  
AJ-HPM100  
AJ-HPG10  
28  
X
P2HD AG-HPX500  
PRACTICAL GUIDEBOOK  
Bayonet Mount  
This is a mounting format for lenses that makes them easy to attach and remove. The name derives from the  
socket-type fastening mechanism used for mounting bayonets on rifles. The movement used to mount the  
lens on the camera works similarly, hence the name. There are three or four pins on the lens mounting  
portion and matching slots on the body mounting portion. To mount the lens, you slide the pins into the slots  
and then turn the lens to lock it. Most lenses for commercial video cameras and still cameras use bayonet  
mounts. Exceptions include wide conversion lenses and the like that employ threaded screw-on mounts.  
List ofTerms  
BNC  
BNC stands for "bayonet Neill-Concelman" and is a type of connector for coaxial cables. On the AG-  
HPX500, BNC connectors are used for the HD-SDI, VIDEO OUT, T/C, and GENLOCK outputs. These  
connectors have comparatively good frequency characteristics and can be made quite compact, so they are  
used widely for a variety of communication applications in addition to video signals. The connecting portion  
has no threading. Instead, it uses a bayonet mechanism that locks when the connector is inserted and  
turned. BNC connectors are compatible with coaxial cables ranging from 1.5D to 5D, among which 5D and  
3D cables are widely used in commercial applications.  
CAC (Chromatic Aberration Compensation)  
The CAC function built into the body of the camera-recorder unit corrects registration error caused primarily  
by minute chromatic aberration that cannot be corrected by the lens itself. This helps minimize rainbow color  
effects around the periphery of the image.  
Clip Thumbnail  
Clip thumbnails are miniature stills from video clips recorded on a P2 card that are displayed in a list format.  
On the AG-HPX500 a list of clip thumbnails is displayed when you switch from REC mode to MCR mode  
(the equivalent of VCR mode in a camcorder using videocassette tape). One thumbnail is displayed for each  
clip in the order captured, from top left to lower right. It is also possible to display clip thumbnails in P2Viewer  
and some nonlinear editing programs. *1 (The clip thumbnail list cannot be displayed on an external monitor  
connected to the camera.)  
DSP  
DSP stands for "digital signal processor," a type of specialized microprocessor for manipulating digital  
signals. The AG-HPX500 is equipped with a high-performance DSP that performs 14-bit A/D conversion and  
19-bit "inner processing". It also adjusts the gamma and other settings for the R, G, and B segments of  
1080/60p (50p) video signals, as well as performing batch conversion (P/I conversion, line conversion, down  
conversion) between HD and SD formats. It is due to this advanced DSP that the AG-HPX500 can produce  
high-picture-quality output in any supported video format.  
Frame Rate Converter  
This converts recording or playback frame rates for only the valid frames in data stored using the Over60p  
mode variable frame rate. It plays the frames using the slow- or quick-motion effect that was intended when  
the frames were shot. In addition to the AJ-FRC27 hardware used in products such as the VariCam, some  
companies also offer plug-in software for non-linear systems.  
The AG-HPX500 and AG-HVX200 allow native-mode recording that is only possible by recording onto P2  
cards, so that slow- and quick-motion playback on the camera is possible without an FRC.  
Gold Mount/V Mount  
These are mounting formats used to mount the commercial camera battery on the camera body. They are  
types of battery mounts. Gold Mount is the type used by batteries from Anton/Bauer and is included by  
default on the AG-HPX500. V Mount is used by batteries from companies such as IDX.  
HD/SD-SDI  
SDI stands for "serial digital interface," one of the video signal transfer standards used by commercial video  
equipment. It allows transfer of uncompressed digital video of standard quality and digital audio over a single  
coaxial cable connected using BNC connectors. HD-SDI is the standard for transferring HD video and SD-  
SDI is for SD video. The video signal is transferred as both a component signal and as a composite signal,  
but these two formats are not compatible with each other.  
Hot Swap  
This function makes it possible to replace P2 cards that are not in use while the P2cam is operating or  
recording.  
ING  
ING stands for "IT news gathering." The P2 system proposed and advanced by Matsushita Electric Industrial  
aims to replace conventional ENG (electric news gathering) with ING employing advanced information  
technology (IT).  
MXF File  
MXF stands for "material exchange format," a general-use media container format used in the video  
industry. It functions as a container for storing and transferring video and audio data as well as related  
metadata. Video and audio data using a variety of sizes, codecs, and sampling rates can be stored. MXF is  
not a compression format or video type. P2 uses the MXF wrapper to store data in formats such as DV,  
DVCPRO, DVCPRO 50, and DVCPRO HD. The use of the MXF wrapper makes it possible to transfer and  
store specialized media data using general-use computer systems. It also provides compatibility with  
multiple media types.  
Native Mode  
In native mode the video data is recorded on the P2 card at the frame rate used by the camera, such as  
720/24pN, 720/25pN, or 720/30pN. Only valid frames are recorded, extending the recording time.  
Shot Marker  
This is a marking function that can be used, for example, to distinguish between good takes and outtakes. A  
shot marker may be added to each clip in the P2 data. Marks may be added or removed during or after  
recording. It is possible to display only marked clips when mounting video data on a PC (using P2Viewer).  
Span Files  
Span files are created when a video file is recorded spanning two or more P2 cards. When P2Viewer or a  
nonlinear editing (NLE) system supporting P2 is used, a set of span files is treated as a single video file  
rather than as multiple files.  
Text Memo  
By pressing the Text Memo button during video recording or preview, you can record blank text memos  
wherever you want (up to a maximum of 100 memos). Later you can search for memos using P2Viewer and  
insert appropriate text, such as the shooting location or scene information.  
Non-linear Editing Terms  
Redundant and Duplicate Frames  
In the FCP manual the term "duplicate frames" is used to refer to cases where the same material is used  
two or more times in a single timeline, and "redundant frames" refers to cases where multiple instances of  
the same frame exist before pull-down processing. However, in new information concerning FCP5,  
"duplicate frames" is used in place of "redundant frames," so the terms may be considered as  
interchangeable.  
Production Note  
AG-HPX500 Camera Operation;HIDEUMI OKA / Videonetwork  
NLE Engineer : KOTARO TAKANO / VFX Director  
Model :YOU TEJIMA  
Still Camera: HYOJI OHFUDE (Studio OXI),MITSUKO HONDA  
Design : MORIHIRO YAKABI  
Special Thanks to : MASANORI(Igrec.co.,ltd), NAOYA TAIRA,YUZO FUSE,SANAE ITO  
Kurosawa Film Studio  
Edit :Yukihiro Ishikawa / Editor in Chief DVJAPAN  
X
P2HD AG-HPX500  
PRACTICAL GUIDEBOOK  
Edit& Direction byShinjusya Inc. /  DVJAPAN  
M atsushita Electric IndustrialCo;Ltd. ProfessionalAV System sBusinessUnit  

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