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HVX-200/HPX-500 Studio Config please…
We have the HPX-500 and are considering getting 2 HVX-200s for a 3 camera studio shoot.
I’ve read on this forum that if the lighting is decent, then they should match up pretty close.I realize that I REALLY should have 3 of the same camera, but it’s a budget issue. If the responses I get here prove that, then we may have to go with 3 HVX-200s.
In any case, I have 2 questions;
1. How well would the 500 and 200 match up in a well-lit studio setting?
And more importantly:
2. With all the “multiple settings” magic of these cameras, is there a way to transfer color balance, etc. settings from one camera to the other so that they’re exactly the same and will look exactly the same when cutting from camera to camera? (This includes matching up 500 to 200 as well as 200 to 200). By the way, we plan on using Panasonic’s new HD switcher: https://tinyurl.com/yuc5qf
Thanks in advance.
Any other studio advice with these cameras would be appreciated.
Bill
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11 Replies
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You are facing a similar job to what I have been trying to get all the answers to. If you read some of the postings, I have read that the 500 and the 200 cuts together very well. You need more light for the 200s and the depth of field is more controlable on the 500. On our new 200 I have noticed that the zoom range is limited, so you have to be close to your subject. And if I am correct the 200 does not have SDI out, but the 500 does.. So check the inputs on the switcher. I think component in on the switcher is an optional board.
Keep me posted on your success (or). We are targeting a very similar job.
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So, I’m still confused by the term “HD Analog Component”. This is what the HVX-200 outputs.
Is this a true HD signal? If I input it into the HD switcher, how would it compare to an SDI HD signal? (like out of the HPX-500)Thanks all…
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I think the correct answer would be ” cable” — SDI is one cable,, component is 3 cables
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SDI is a digital signal (Serial Digital Interface) that combines audio and video signals along one data stream. HD Analog Component is a splitting of HD RGB signals in the video and does not include any audio information along the data stream.
Both are HD signals; one is analog, the other is digital. Most people use the HDAC for monitoring purposes (provided you have an HD monitor that accepts the RGB inputs), not for transferring data (unless in the case that you have a capture card that has HD analog inputs).
As far as the mixing of the cameras for your program, ask yourself this: Is it worth the time I’m going to have to spend tweaking levels in post (if you are going to post the program) vs. out-of-pocket expenses for the rental of the 3rd 200?
If you’re passing along the costs to the client, I would suggest just renting the camera and getting the peace of mind that you KNOW the cameras will cut together perfectly using the same SD setup card in each of the cameras. You’ll save them that much money in time for the post. If you’re paying for it yourself, it wouldn’t make as much sense, if you already own the 500, to rent another; you’ll just have to “fix it in post”.
Having to “fix it in post” isn’t always the best solution, and it’s what people who have been shooting for aeons HATE to hear. Why not just let ME shoot it RIGHT instead of YOU having to fix it later?!?!? I absolutely hate the phrase “I’ll fix it in post”…
Hope that helps…
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SDI is a digital signal (Serial Digital Interface) that combines audio and video signals along one data stream. HD Analog Component is a splitting of HD RGB signals in the video and does not include any audio information along the data stream.
Both are HD signals; one is analog, the other is digital. Most people use the HDAC for monitoring purposes (provided you have an HD monitor that accepts the RGB inputs), not for transferring data (unless in the case that you have a capture card that has HD analog inputs).
As far as the mixing of the cameras for your program, ask yourself this: Is it worth the time I’m going to have to spend tweaking levels in post (if you are going to post the program) vs. out-of-pocket expenses for the rental of the 3rd 200?
If you’re passing along the costs to the client, I would suggest just renting the camera and getting the peace of mind that you KNOW the cameras will cut together perfectly using the same SD setup card in each of the cameras. You’ll save them that much money in time for the post. If you’re paying for it yourself, it wouldn’t make as much sense, if you already own the 500, to rent another; you’ll just have to “fix it in post”.
Having to “fix it in post” isn’t always the best solution, and it’s what people who have been shooting for aeons HATE to hear. Why not just let ME shoot it RIGHT instead of YOU having to fix it later?!?!? I absolutely hate the phrase “I’ll fix it in post”…
Hope that helps…
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Thanks Scott for the information!
As long as it’s an actual HD signal going to the switcher (whether SDI or component), I’m fine. Audio doesn’t matter since it’ll be recorded separately anyway.
On the note of different cameras, I WOULD prefer all the same camera to match up the shots. But for us it’s not a matter of rental costs, since we’d like to own the equipment for future 3-camera shows.
Our 500 is mainly for ENG, but I was basically checking how they match up to see if I could get away with only spending another $15 grand for 2 cameras, instead of $22 grand for all 3 cameras. (Budgets are ALWAYS an issue!!)
Thanks again for the info!
Bill
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[Nate Stephens] “I think component in on the switcher is an o”
This is correct and it is the one hesitation I had when purchasing my hvx200, no hdsdi. You can weigh the costs of adding AJA HDsdi converters to the HVX200’s against buying the analog HD input cards for the switcher ( this will allow you to run cheaper cables instead of running component cables) This new switcher is probably worth the extra $3000.00 just for the multiview function that enables you to split screen an HD monitor for all the input previews. For-a nother option google “For-a HVS-500″. Once you get into the $15,000.00 range you get color bias -gamma settings per channel for color correction/matching. I think you lose the multicam feature though. Edirol has a $10,000.00 HD switcher out too which is HD analog and up/down conversion but since you already have the HPX-500 this would be a step backwards. Focus Enhancements (was Videonics) now has an HD switcher, the ” Focus HX-1″ and they also have an interesting converter, the “MCSDI-1” which converts analog HD, component SD, HDMI to HDSDI and they are only $700.00. Pricewise the Panny still wins but the converters look good for the price.
[Nate Stephens] ” On our new 200 I have noticed that the zoom range is limited, so you have to be close”
Yes the HVX200 wasn’t aimed at live event shooting but you can add century 1.6 or x2 tele converters (not zoom through though) Still, with one HPX-500 you should get by.
The HPX-500 was built for live switching with HDSDI, TC and Genlock connections. The HVX200 was not. To make it work you need:
> a switcher with frame synchronizers for each cam (like the one you’re looking at), and
> either AJA HD10__ or MCSDI analog to HDSDI converters @$700.00 – $1000.00 each (side benefit of one cable for video to switcher) or
> the analog HD input cards for the switcher @ $2000.00 ea. (side disadvantage of requiring more expensive component cabling).I would consider leasing a second HPX-500 and purchasing the HVX200 as a third cam until you can eventually replace it with a 3rd HPX-500.
Typically in a real world situation you will be more concerned with “mis”adjusting the cameras to match as the lighting and color balance won’t be the same.
Typical scenario:
Cam1 – aimed NorthEast CU (close up)
Cam2 – aimed N. Wide Shot
Cam3 – aimed North West 1/2 shotAll cameras have different backgrounds
All cameras have different light/contrast ratios
All cameras have different color balance (unless you have one flat (dead) lit studio with white walls and furniture)Gamma, Knee and matrix should all be the same on all cams as should be frame rates and recording formats of coarse. This data can be saved as a scene file onto the sd card and reloaded to other cameras. Timing of these cams (usually the biggest issue) will be looked after by the frame synchronizer in the switcher.
Light the set and put something black and something white in the picture. Turn on cam1 and adjust your lighting, then iris level, gain or pedestal to set white and black levels on a waveform mon. Do the same with cam2 and cam3. For color use a stand-in and start with cam1 and 2 using a horizontal split screen on the program monitor through the switcher. Top is cam 1 and bottom is cam 2. Adjust the cam2 chroma level, phase and color temp to match the top and bottom pictures. Now swap out cam2 for cam3 and match cam 3 to cam1 the same way.
“everything is broken” ……1st. coined by Esther Philips I believe.
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LOTS of great info!!! I really appreciate the help!
Bill
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Rennie,
I have done this adjusting using TBC’s and CCU’s, but can you do this directly on the HVX200 or 500 cameras menus, or is this being done on the Panny switcher??
“Adjust the cam2 chroma level, phase and color temp to match the top and bottom pictures. Now swap out cam2 for cam3 and match cam 3 to cam1 the same way. “
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This is all in the camera menu.
For B&W Levels:
Camera- Scene File –
– Master Pedestal
– Iris LevelFor Color Matching:
Camera- Scene File –
– Chroma Level
– Chroma Phase
– Color tempI haven’t used an HPX-500 so I’m not too familiar with them. I see you can get a camera remote for them but haven’t looked at those. Some of the pricier switchers give you these adjustments. The 2 cameras should be ok to mix from what I’ve read providing there is good light like has been said. A good monitor is essential as this is more an artist’s touch at this point.
“everything is broken” ……1st. coined by Esther Philips I believe.
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