Panasonic AG-DVX200 Tech Brief - Volume 6 - V-LOG L Based Production - Page 10

Bit vs. 8-Bit Recording, Summary

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10-Bit vs. 8-Bit Recording e DVX200's internal recordings are all done at 8-bit quantizing and 4:2:0 color sampling. ese recordings may be perfectly suitable for many purposes and jobs, but 8-bit is not as robust as 10-bit, and 4:2:0 is not as robust as 4:2:2 or 4:4:4 color sampling (obviously). When working with VLOG-L, you'll likely be stretching 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-bit 4:2:0 recording. It's not that you can't work with 8-bit 4:2:0, it's just that -- well, 10-bit 4:2:2 is better. e further you push the footage, the more 10-bit and 4:2:2 will hold up as compared to 8-bit and 4:2:0. Having a fuller, more robust recording to work with gives you more leeway to push and stretch the footage in post. If you utilize an external 10-bit 4:2:2 recorder, you may gain a sign cant advantage in recording delity; but only you can determine if the increase is worth the cost, data management, and equipment management that using an additional recorder would involve. Summary VLOG-L gives the widest dynamic range and the most post-production exibility from a DVX200. If your project can a ord the time to conduct the proper post-processing required, VLOG-L gives you the broadest canvas on which to paint your images. Exposing properly for VLOG-L is the key to getting the best results; aim to expose an 18% gray card at about 42 IRE, keep your Caucasian skin highlights to below 55 IRE, and set your Zebra 2 to 75 IRE to keep from clipping highlights. 10

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10-Bit vs. 8-Bit Recording
°e DVX200’s internal recordings are all done at 8-bit quantizing and 4:2:0 color sampling.
°ese
recordings may be perfectly suitable for many purposes and jobs, but 8-bit is not as robust as 10-bit,
and 4:2:0 is not as robust as 4:2:2 or 4:4:4 color sampling (obviously).
When working with VLOG-L, you’ll likely be stretching 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-bit 4:2:0 recording.
It’s not that you can’t work with 8-bit 4:2:0, it’s just that -- well, 10-bit
4:2:2 is better.
°e further you push the footage, the more 10-bit and 4:2:2 will hold up as compared
to 8-bit and 4:2:0.
Having a fuller, more robust recording to work with gives you more leeway to
push and stretch the footage in post.
If you utilize an external 10-bit 4:2:2 recorder, you may gain a
signficant advantage in recording fidelity; but only you can determine if the increase is worth the cost,
data management, and equipment management that using an additional recorder would involve.
Summary
VLOG-L gives the widest dynamic range and the most post-production flexibility from a
DVX200.
If your project can afford the time to conduct the proper post-processing required,
VLOG-L gives you the broadest canvas on which to paint your images.
Exposing properly for
VLOG-L is the key to getting the best results; aim to expose an 18% gray card at about 42 IRE,
keep your Caucasian skin highlights to below 55 IRE, and set your Zebra 2 to 75 IRE to keep
from clipping highlights.
10