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Panasonic AJ-D200 Digital
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DVCPRO 3-CCD CAMERA
- Panasonic AJ-D200
- Digital Video
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DVCPRO
Format Digital Camcorder
- AJ-D200 DV-CPRO
CAMERA
- The Camcorder
AJ-D200 is the ideal entrance into the DVCPRO
format. The DVCPRO drive assembly works with the
L-cartridge for up to 184 minutes of running time.
The AJ-200 is a 16:9/4:3 switchable
aspect ratio camera targeted for all high-end
business and industrial professional video
production houses, as well as small to mid-sized
broadcast and cable television stations.
Panasonic's new
Digital Camera/Recorder is the industry's first to
accept a lightweight, 1/3-inch conversion lens.
Weighing only 13 lbs in full operating condition, an
ideal weight for a shoulder-type model, and consuming only 15 Watts,
this camera is perfect
for field work.
The camera's component recording assures
superior digital picture and sound quality every
time you shoot.
The professional-level Panasonic AJ-D200 is
different from lightweight
consumer-grade digital video cameras. At 13
pounds, it is a camera that is easier than
other video cameras to hold, being well
balanced and having some weight.
Using the DVCPRO large cassette, this digital
camera/recorder provides the same maximum recording
time, 123 minutes, as S-VHS, with the outstanding
quality that comes only with digital technology.
This provides
enough time for video production work, or for
shooting the special events and ceremonies
that are so common in professional video work.
This is the industry's first digital camera/recorder
to conform to 1/3-inch bayonet conversion lens
standards. It accepts a compact, lightweight, high
performance professional 1/3-inch lens.
Thanks to double-density pixel distribution, this
3-CCD unit delivers the same high level of
resolution as a CCD having 410,000 pixels (NTSC) or
480,000 pixels (PAL). It also features a large light
collecting area that gives the camera a high S/N
ratio, plus outstanding sensitivity and a wide
dynamic range. Combined with the gapless diachronic
prism, it ensures razor-sharp images and extremely
faithful colors.
The Fujinon
lens offers superb control. The lens can be
zoomed under variable speed servo control or
switched to manual operation. When compared to
camcorders without removable optics, the D200's
manual zoom and focus rings are wonderful to use.
The iris can easily be adjusted manually, or placed
under automatic control. Panasonic's automatic
exposure system worked incredibly well. No matter
the situation, exposure is perfect. The AJ-D200
handles diagonal lines with only mild digital
stair-casing and the image has only a trace of a
monochrome moiré pattern from fine luminance detail.
Under typical indoor illumination, the D200
delivers a very bright and an acceptably noise free
image. Panasonic's decision to
employee relatively low density CCD chips helps
low-light sensitivity.
The DVCPro system is not proprietary to Panasonic
and was developed with an eye to the coming
changeover to high-definition digital television.
Its' compression technology and tape formats maintain
all-digital imagery from capture through broadcast.
The camcorder is in the DVCPro line that
takes advantage of tape for archival storage
and high-quality video capture.
For post-production work, the compressed DVCPro
video signals can travel over Ethernet
networks,
store on a hard disk for random-access editing
and storage.
DVCPro has editing software for Microsoft Windows NT
and Silicon Graphics Inc. platforms.
With the future HDTV migration in mind, you can
select from Panasonic's standard TV format or the
optional wide-screen 16-to-9 format with a
resolution that is only half that of the proposed
digital broadcast format.
The camera will play back video through standard
SVideo and BNC composite connections for PC viewing
or direct VCR editing, but it's really intended as
part of a professional video gathering and editing
system. Many users will buy a special editing
station that accepts the D200's digital tapes.
The AJ-200 is recommended for anyone who needs to produce semi-professional videos
for internal training, sales, corporate and special events
recordings,
making video clips
to distribute to news media,
professional looking courtroom video and
depositions, recording accident or
crime scenes.
Another important use is as a tripod-mounted
studio camera for videoconferencing or other
studio work.
Although you could leave the AJ-D200 on its tripod, don't
forget it's portable. Clip on a battery and carry
the camera to record a remote scene.
The 12-volt power plug makes it easy to find a
remote power source, and battery life closely
matches the 123-minute recording time of a single
tape. Other batteries and power sources are
available, including a power-input connector for
studio use.
Features
- The outstanding picture
quality of digital component recording.
- 48-kHz PCM 2-channel
digital audio recording.
- Built-in time code
generator (works in REC RUN mode only).
- Video (BNC) and S-VIDEO
(4P) outputs.
- 2-channel line/microphone
input (XLR).
- Voltage supply 12 V (11 -
17 V) capacity 15 Watt.
- 3 x 1/3 CCD camera w/
5.5-77mm Fujinon zoom lens, 2 XLR audio
inputs. 4:3 / 16:9 switchable.
- Uses DVCPRO "L" size
tapes.
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48kHz PCM 2-channel digital audio recording.
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Digital signal processing.
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Built-in color bars.
-
Two-hour field recording capacity on a single
tape.
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14:1 Fujinon lens.
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Three 1/3-inch CCDs with a resolution of
270,000 pixels per CCD.
-
Shutter speeds vary from 1/100 to 1/8000
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Full size design 1/3" 3 IT
CCD's Component digital video quality.
-
Professional-grade
audio
connections.
There are
two three-pin microphone inputs to supplement the
two built-in mikes and the usual RCA connectors for
audio out.
There is a built-in speaker on the left side
of the camera, although many operators prefer headphones.
-
Large 1½ inch
black and white
600-line resolution
viewfinder with
built-in diopter adjustment is essential for
precise focusing. There is no auto focus on these
lenses, but manual focusing is not difficult, and
the image snaps into clear focus in the
high-resolution viewfinder.
The viewfinder
can be menu-set to monitor functions an
operator deems most critical (audio levels,
iris setting, white balance, battery
condition, tape remaining, and timecode display). The viewfinder uses a CRT.
If you are shooting using the D200's 16:9
aspect-ratio mode you can adjust the image's
vertical height to squeeze it into a letterbox.
-
For recording, there are three factory white-balance
settings and there is an
auto-white balance mode. For special lighting
situations, you can store additional custom
color-balance settings.
Most adjustments other than shutter and gain are
made through software menus.
-
The D200 had a built-in mic with a
menu-adjustable level setting plus a pair of
balanced, XLR audio input connectors that have
individual menu-adjustable level settings
(-60dB/-50dB/-40dB). Moreover, internal DIP switches
could be used to set the XLR inputs to accept
microphone level signals or line level
(-6dB/0dB/+4dB) signals. These abilities enable setting
input sensitivity to prevent clipping.
Dual channel
audio is recorded digitally, of course, at a
48kHz sampling rate with 16-bit samples.
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The D200's three 1/3-inch
270,000-pixel IT CCDs yield approximately 500-lines
of horizontal resolution (400-lines of vertical
resolution) using CCD spatial offset technology. The
camera is rated at a 60dB S/N ratio. Sensitivity is
rated at 2,000 lux at f/5.6 with a minimum
illumination rating of 5 lux at f/1.4 with 18dB
gain.
-
A three position switch allows the
operator to select "no-gain" "medium-gain" and
"high-gain" presets. The medium gain preset can be
menu set to +6dB or +9dB while the high preset can
be set to +12dB or +18dB. The +6dB/+12dB
pairing offers more than enough gain without
introducing the high image noise that appears at
+18dB.
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A second, three position switch selects
normal (1/60S) shutter-speed — or toggle through
eight shutter speeds: 1/100, 1/125, 1/250, 1/500,
1/1000, 1/2000, 1/4000, and 1/8000.
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A third, three
position switch enables the operator to select white
balance settings: "manual" — which functions after
the operator initiates a white and black balance
operation; "preset" — that can be menu-set to
Indoor, Fluorescent, and Outdoor; and — Auto
Tracking.
-
The ATW color temperature reading is
displayed in the viewfinder — a great feature. The
system is accurate over its range from 2800ºK to
6000ºK.
-
The option to shoot anamorphic (widescreen)
video makes the D200 a good candidate for DV (really DVCPRO) to 35mm film applications. You can use the
menu to adjust sharpness to minimum, bias exposure
±3 stops (I found -1/2-stop prevents over-exposure),
plus set color saturation and hue to taste. If you
are shooting a wide shot with little movement you
can engage Frame mode to increase vertical
resolution. And, with the available ND filter you
can force the aperture open to decrease
depth-of-field.
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Either SMPTE drop-frame (default) and non-drop-frame
time code can be recorded. Selection can be made
between Free Run/Rec Run. A menu item allows you to
clear the timecode generator. The timecode generator
is integrated with the D200's Scene Data function.
Each shot's start and stop timecode is automatically
written into the camcorder's memory along with a
"mark code." When shooting you can press the SCENE
button to define three mark codes: no-Mark, Mark 1,
or Mark 2. Before ejecting the tape you must go to
the menu and issue the Scene Data Save command to
write the memory to the end of the tape.
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The D200 is equipped with a gold mount plate for an
Anton/Bauer digital battery system. When a digital
battery is used, the remaining time is displayed in
real-time in the EVF. When using an Anton/Bauer
Ultra Light, the light's on/off and recording
start/stop can be linked together. Two other power
options are available. Panasonic offers the AU-M402H
battery case that can accept a Panasonic AU-BP402
battery pack. You can also use a Sony NP-1B battery
by mounting a Sony battery case to the AJ-D200. A
Panasonic AU-B110 or AJ-B75 AC power supply can also
be used to power the camcorder. The AJ-D200 operates on
10.5 to 17 volts and consumes 16Watts. Anton Bauer's Trimpack 14 can power the unit for 120 minutes of
continuous recording.
Supplied Accessories
-
AC adapter
Two
batteries w/ fast charger
Supplied with
14x zoom lens
-
B4 lens mount
-
Fluid-head tripod,
Matte
box
-
Zoom remote
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An optional five-inch monitor is available.
-
Uses the 1/4",
63 minute AJ-P63M cassette
-
Uses the 1/4",
123 minute AJ-P123L cassette
-
Dimensions:
(WxHxD)
- Weight:
Approximately 13
lbs
- Supplied with: cables, carrying case
Rental
Price: $250.00 / Day
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