I received my 150 a little over a week ago. Bought it because I wanted to move up to HD and get out of the tape business. It did not come with an SDHC card. Bought an 8 GB to carry me over until my 16 GB cards arrive via Amazon. I am still on the learning curve on it. Especially liked the large comfortable color view eye piece. I was also amazed by the clarity of the video play back on my 48" LCD screen. Used the three cable output first, that came with the camera( Video, Lt. Rt. Audio )Very clear video, much clearer than my trusty old Canon GL-2 It does not come with an HDMI cable. Bought one locally and tried it. Plugged one end into the HDMI out port on the camera and the other end into the HDMI port of my TV. I was blown away by how clear it was !! The video was clearer than some of the stations I view in HD.
On playback, you are given a thumbnail of the first frame of each scene you shot when you turned the camera on. On playback, you can skip around the scenes you want to view , or delete if needed. The focus assist is another nice feature. When you use it, it momentarily zooms in on the middle of your next shot so that you can fine focus if needed.
It has many other features that I have not tried yet. On editing, bought the Pinnacle 12 Ultimate because it is set up to handle the AVHCD format and a PC with the AMD quad Phenom processor with 3 GB of RAM. Waiting for a more powerful graphics card to arrive before trying to edit in this new format. The battery that came with it is small. Would recommend buying the larger battery as soon as you can to balance it out. Right now, it feels a little out of balance because of the smaller battery. Also liked the solid magnesium body. No plastic anywhere ! Overall, I am impressed with this camera.
I shoot weddings and I have used The HMC150, the Canon AH1.
From the beginning let me first tell you where my opinion is coming from price tag: $3500
First off, neither of these cameras are brilliant in low light. They have 1/3 imagers. I don't care if they are made of gold and there are ten of them.
1/3 imagers are too small to gather enough light, even if you attached the Hubbell telescope to them.
To put such tiny sensors in a $3500 is poor, cheap engineering especially when SLR have larger sensors, shoot HD and don't cost this much.
Who are these camera angled at?
Videographers and indie filmmakers.
As a videographer what are you most concerned with Low light.
Why? Because you cannot control lights at weddings at parties, etc. So your camera has to be able to handle it.
As an Indie filmmaker what are you most concerned with The ability to look like film. It does, with 24p and film gamma, it's about all you need. But you are paying a premium. But for me, equally important to film look as 24fps is lens choice. Here you get none. While 24fps is what is ingrained in the everyone's consciousness as what film should look like, they also don't realize that shallow depth of field and variety of lenses is too. With these camcorders you get no choice, a 13x zoom with extremely wide depth of field at most every focal distance, because it's a zoom and because the imagers are tiny.
Good news The AG-HMC150 can handle most lighting situations.
Bad news AVCHD codec, is noisy in even bright sunlight afternoons. The image is made of blotch.
Measuring image integrity by zoom factor at 100% AVCHD compression is clearly visible. 200% the image is a swarming, infected mess.
Although the Panny can holdup in low light. I shot in a dark club and there was still something to see.
It has a very weird auto iris mode, that brings in more light, even when you do exact settings in manual.
Don't know if there is a magic switch, didn't have it long enough to work everything out.
The Canon uses HDV and instead of compression codec noise, you get digital noise; unpleasant grain (not like film), and washed out video at 100%. At 200% it's like looking at a digital still from a 10 year old point and shoot. And trust me, once an image is washed out and grainy, there is very little you can do (Some gamma correction will bring the shadows back to life, but that noise is there to stay. And the drop down to SD doesn't do it any favors.
Bottom line the Canon sucks in low light, especially in anything other than auto mode. I shot in a low light room and the image was garbage. Despite some settings tweaking, which leads me to Canon's second biggest problem and a problem with these camcorders in general.
The LCD and the Viewfinder are too small to see how your image is holding up. Everything looked fabulous on the Canon's 2.7 LCD...and then when you get it back to edit. Noise city. So you can only use the LCD for just basic image checking.
The HMC150 has a 3.5 LCD, but the brilliant engineers made it a 4:3 ratio! You have black matting in the image! The camera can only shoot 16x9 and they put a 4x3 LCD on it...so in the end you only get about 2.7" of real estate and you see as much as on the Canon, unless you are in focus assist mode which zooms in and uses the whole LCD.
So you have to know your settings and be shutter/iris paranoid, hoping for the best image. What you see is not what you get, you have to know what you want, like with film and set the camera accordingly, knowing which settings will get you want in the END, not what you are looking at through the camera.
The HMC150 definitely benefits from the higher rez. The Canon is 1440x1080. You can see the difference.
The Canon is more professionally built. Both plastic, but the canon feels more professional, and weirdly the HMC feels like a Tonka Toy, hard textured plastic, but like a light and chunky toy. I can hear the optical stabilizer clunking around in it. The Canon aesthetically looks more professional.
Audio on the Canon is better, it has much better limiter, I don't even think the HMC's is useful, but if you plug one xlr mic into the Canon...the onboard becomes unusable. HMC lets you assign channels for the onboard. Bad news is the onboard mic on both sucks, the Canon sounds better because the HDV format has higher rez than the compressed AVCHD codec.
The HMC and it's tapeless/AVCHD codec does not save much time, the transcoding takes almost as long if not longer than real time (HDV tape) and sometimes there are errors, especially transferring from camera, the footage speeds up, the audio remains constant and you have shorter clips. Happened constantly. My guess, USB and it's non constant data rate. Another cheap short cut by Panasonic. The Canon has a firewire, which speed is constant, and they need it for the HDV tapes.
The HMC wins out with higher rez, native progressive imagers, resulting in two true progressive modes, 24fps, the other mode/rez are wrapped in pulldowns. The Canon's 24f, etc modes are fake and you can tell. Everything is interlaced on the Canon. I hate interlaced.
This review isn't structured very well, but I don't have the energy, since I'm so unenthusiastic about both, so they're not worth more time. But I thought I would let potential buyers know, the ones who think these two cameras are the Holy Grail. They aren't, and they aren't worth the high price tag, they are worth $2000 not a penny more. But the problem is, what else is there?
I returned the HMC, and I didn't the Canon wasn't mine, but would have returned it too.
I'm going to try the Canon SLR route. The closest thing you can get to film without shooting it.
Annoyingly these two manufacturers and Sony...are all sticking it to us. Instead of advancing things, they are taking baby steps, giving us one desired function at a time for a price.
If Canon can put a full frame sensor in their 5d II and can give it 1920x1080 30fps shooting, why can't they put that sensor in a camcorder, with a SLR interchangeable lens mount, with XLR inputs?
Because they want to sell camcorders AND slr cameras.
These camcorders are just big consumer cams. They don't have enough image improvement to warrant $2500+ more in cost. You are paying for features, limited manual adjustments, not image upgrade.
But of course I didn't have it for very long, two weeks.
I just couldn't get over the price versus video quality, and workflow.
They don't justify the price, especially when I think we are very close to getting some real breakthroughs in HD imaging.
Buy Panasonic Pro AG-HMC150 3CCD AVCHD 24fps Camcorder Now
One thing you need to keep in mind is that editing AVCCam/AVCHD is a P.I.T.A. I'm using CS4 on a 2.4 quadcore with 8gig of RAM and Vista64 and it's sluggish with frequent lockups. I'm getting Cineform ProspectHD v4 when it comes out to compensate. Vegas 8.0c and Edius works well I'm told, and FCP need to convert it to ProRes (or whatever it's called). I think Avid needs to convert it to a native codec as well. Panasonic does offer a free converter to DVCProHD on there website[Update 6/5/09... Premiere CS4 4.1 update is out, and editing is much easier. Also, Prospect v4 is out, and editing with the demo I've been trying has been a joy]
That said... the camera itself is awesome. Really. I'm coming from the DVX, and this is leaps and bounds above that (which is saying something). The images I'm getting are beautiful. I'm planning on going out now on my days off to shoot just for the fun of it.
I really can't add anything that hasn't been said already by others. But if you're looking at the HVX200a or HPX170 (they all share the same chips, and the HMC shares the same glass as the HPX), but don't want to deal with the costs of P2 or need all of the features of the HPX or HVX, I would HIGHLY recommend buying this instead.
Just be prepared for some editing headaches at first (the problem with bleeding edge technology is sometimes you need to get stitches).
Read Best Reviews of Panasonic Pro AG-HMC150 3CCD AVCHD 24fps Camcorder Here
I knew I would have to do it sooner or later. Even shooting Super 16mm is (a) too expensive and (b) too heavy. I have seen so many good documentary films that originated on HDV or AVCHD based camcorders that I thought I should really make an effort to go digital.As it happened, I attended a Panasonic seminar that convincingly touted the value of a modern H.264 type codec for the "filmakers" vision. So the Sony and Canon alternatives were effectively eliminated as options by the smooth presentations given by Panasonic. This left the choice of cameras down to the HMC40 (cheaper and lighter) or the HMC150. Both can do the things I need to do (24P being a requirement)and both are designed to create a "film-like" look to the image.
My choice of the HMC150 was based on the feeling that 3 1/3" imagers are going to be less noisy than the 3 1/4" imagers installed in the newer HMC40 camera. I did not do any side-by-side comparison testing but I am guessing that I am correct in this assumption although the degree of difference may not be noticeable in the final image.
It has been about two months that I have been using this camera. What it can stuff into a tiny SD memory card is amazing to me. The images have been outstanding for a television camera and really not too bad for a cinema camera. I miss interchangeable lenses and controllable depth of field but I don't miss changing the magazine after a few takes and I dont miss heavy battery packs and Nagra sound recorders.
I did find that the manual iris control on the camera is impossible to use while shooting and that manual focus is also clumsly and can create sound noise while filming if you are using the on-board mic or even the mounted shotgun. The simple solution was a Vari-zoom remote and that fixed the two biggest operational problems I had.
The camera was packed with GVG's Edius Neo. That works a treat with AVCHD and as long as you have a decent modern laptop with sufficent speed and memory, it is fast enough to operate and to render out edit files to disk or SD card. I prefer to have the final finishing completed by a real editor (probably using FCP) but I can manage the rough edits with Edius without too many problems.
So, I am not sorry. This is the first digital cinema type camera that I have purchased and it will probably be the gateway drug to a Red One or something like that. I miss film but if you are not making a feature film with multiple rented 35mm cameras (paid for by someone else), why not use a camera like the HMC150? The cost of the hardware is more than offset when compared to running a S16mm camera to create 60 minutes of finished projectable film. SD cards are cheap. Digital projectors are getting better and DI from inexpensive digital cameras to 35mm film neg is possible if the content is good enough to justify the cost.
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Much has been said, but I'll add a bit. We use this camera for live events and produced videos. Here's what we've learned in 6 months.1) Buy the 150. We also have the 40 which does what the 150 does, but for pro use, the features are slow and cumbersome to access on the HMC40.
2) Great if you use Adobe Premier C6. Not so much if you use Final Cut Pro 7. We have both. Premier is native to AVCHD. With Final Cut, the transcoding is almost worse than tape ingestion. With Premier, you can preview the videos easily, edit them easily, and you aren't so dependent on rendering.
3) Watch the errors. We had one interview error after 45 minutes and lost it. It's the first in 7 months of usage, but we lost about $4000 worth of footage. Panasonic has a recovery tool, but it didn't work. We were using a Transcend card (cheaper) on that shoot, so we won't do that again. We'll go back to Sandisk.
4) Low light is much worse than SD, but I guess all HD is. It works for us because we light everything. Wouldn't work if you don't have lighting control.
5) We really wish it had a 20x zoom. The 13x is a compromise from our old 100A's.
We'll probably buy another one, but we're waiting to see if Cannon comes out with an SD card based HD camera.
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