Panasonic AG-DVX200 Tech Brief - Volume 6 - V-LOG L Based Production
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- Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 1
AG-DVX200 TECH BRIEF VLOG-L Based Production By Barry Green, a producer/writer who has authored many books on the operations of Panasonic professional camcorders. - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 2
used in the DVX200. Using video-compliant use the camera's footage, without grading, they would probably be very disappointed in it. e footage needs extensive processing before it is ready for viewing, and professional colorists can charge several hundred dollars per hour to work on footage. Using - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 3
, and the DVX200 is no exception. e DVX200 does noise reduction internally when it is normally processing footage, and includes exposing using normal video gamma curves. Most video camera gamma curves are designed to replicate what-you-see-is-what-you-get when the footage is displayed on a video - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 4
the video gamma curves in the DVX200, VLOG-L is designed to mimic the characteristics of a lm negative that has been scanned digitally. It is not designed for monitoring and exposure, it's designed to provide a broad, at scene that can be manipulated in post production. You can use the camera's LOG - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 5
can represent). is is indeed a concern with raw footage, but is not nearly as much of a concern when using a logarithmic gamma; a LOG gamma redistributes the long as none of the video information "clips" o the top. Regardless of how dark an image should look in the nal footage, the idea is that if - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 6
about the highlights; excessive attention to the highlights may mean compromising other aspects of the footage, so a strict "ETTR" approach is not always going to provide the overall best results in a video project. Exposing For Middle Gray An alternative method of exposure would be to expose for - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 7
video gamma, and keeping your highlights at or below 100 IRE). Keeping skin tones comparable shot-to-shot makes matching footage camera generates. e question is usually one of balancing noise versus retaining highlights. As with all digital camera , maybe you should use ETTR, understanding that - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 8
video gammas. is is not representative of a loss of dynamic range; in fact, when in VLOG-L mode, you'll be getting more dynamic range than you can get in any other gamma curve - regardless of how the waveform monitor or histogram look. e full range of the DVX200's sensor is always being used - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 9
seem obvious, but where one can run into trouble is in not understanding that di erent cameras will output di erent color data from their color palette used on the Varicam called V709. While Panasonic's own LUT is not speci cally optimized for the DVX200, it will get the footage close to being - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 10
and pushing the footage quite a bit. You can achieve better results by using 10-bit 4:2:2 external recording, than you would from the camera's internal 8- using an additional recorder would involve. Summary VLOG-L gives the widest dynamic range and the most post-production exibility from a DVX200. - Panasonic AG-DVX200 | Tech Brief - Volume 6 - V-LOG L Based Production - Page 11
For more information on Panasonic professional video products, call 877.803.8492 or visit www.us.panasonic.com/provideo
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AG-DVX200
TECH BRIEF
By Barry Green,
a producer/writer who has authored many books
on the operations of Panasonic professional camcorders.