In early 2004, after the overwhelming success of the original DVX100, Panasonic released the DVX100a. The new camera incorporated all of the attributes that made the original so popular, while at the same time adding new features to further improve the device. The DVX100a is a camera squarely aimed at the prosumer to professional user. It's got a whole host of powerful features (including its 24 frames per second recording mode), so let's get down to it!

Feel and Controls

The first thing you notice about the Panasonic DVX100a when you pick it up is that it has a very solid feel. The camera does not have that hollow feeling one finds holding many of the more poorly built camcorders. It can be held from either the top or side, and both positions provide easily accessible controls.

Recording as well as zoom controls can be found on both the back and top of the camera, while the manual controls for the zoom and focus can be found at the front, as expected. The manual zoom ring provides smooth feedback when executing zooms -- rare even with prosumer MiniDV cameras. The manual focus ring has a slightly less solid feel to it and at times feels slightly loose, but still performs well.

 The left side of the camera is where most of the controls can be found. On the side of the lens you will find the USER buttons that allow for saving different presets and functions for quick use, the ND switch, and the Auto/Manual Focus Switch. Below these you will find the controls for the Gain as well as white balance. The Iris dial and the Auto/Manual Iris button are also in this location. The next place with a bulk of controls is behind the LCD. Here you will find all of the audio switches for controlling the on-board microphone or any external XLR microphones that may be plugged into the camera. Also located behind the LCD are the shutter speed controls, the zebra bar controls, and optical image stabilizer. Below the LCD you will find the audio level controls, and above the LCD are the menu and playback controls -- well positioned to provide easy navigation through the menu system.

On the back of the camera are the scene file dial, with 6 convenient presets for changing between 24P, 24PA, 30P, 60i, and other various settings. Also on the back is the EVF DTL button which helps with manual focusing by providing a slight outline of the items which are in focus, the Camera/VCR toggle button, and the main ON/OFF switch.

The front of the camera contains two more audio switches and the switch to toggle between manual and servo-driven zoom. The Auto White Balance button can be found on the front of the camera -- somewhat of a nuisance while white balancing because of its odd location.

Inputs/Outputs 

The DVX100a features a number of powerful inputs and outputs. On the right side of the camera is the main cluster of inputs and outputs. The camera features 2 XLR inputs which are well positioned, and give the camera the power to use professional microphones. Above the XLR inputs is the main cluster of inputs and outputs, which are covered by a thick plastic cover. The camera features RCA and S-Video connections for video in/out. The FireWire port can also be found here. On the back of the camera is the headphone jack for monitoring sound levels, and a plug for an external remote, though the camera comes with a basic infrared remote.

Lens

The DVX features a Leica lens with 10x optical zoom. The 10x optical zoom can be restricting at times, but for a non-removable lens a10x is often standard. To find a camera with a more powerful zoom lens you would have to look to the Canon XL-2 which comes stock with a 20x lens. This lens features 72mm diameter threads for attaching filters and lenses. Protecting the lens is a small rectangular matte-box, which attaches to the front of the lens. 

24P, 24PA, 30P, 60i

The Panasonic DVX100a is capable of shooting at four different frame rates 24P, 24PA, 30P and 60i. Each of these frame rates has a distinctive look and affords the DVX user an array of styles to choose from.

Let’s start with 24P, which is a frame rate designed for users who want to achieve the look of film but want to edit their footage in a standard NTSC timeline which runs at 29.97fps. The 24P preset uses a 2:3 pull-down to display the video and is a good preset for anyone who wants to have their video look like film, but does not want to have to deal with the issues of working with true 24fps footage. Next is the 24PA (advanced) preset which allows for true 24fps recording. This mode of recording will leave you with actual 24fps material after you have removed the 2:3:3:2 pull-down with your non linear editor. This preset is perfect for users planning on putting their content on a 24P DVD or having the project blown up to film. The next mode of recording is 30P, this format still gives a look similar to film, but is capturing 30 full frames each second. This footage can be used for regular NTSC viewing or can be dropped into a 24P timeline and slowed down for a slight slow motion effect. The last mode is 60i, this format is the most common to the average TV viewer and will give you the standard video look. Unlike the rest of the shooting modes 60i does not capture full frames, instead it captures 60 fields per second interlaced. This mode is best suited for anyone looking to give their footage the "reality TV" look or the look of immediacy found on news programs.  

4:3, Letter Box, Squeeze

The DVX offers three different aspect ratios in which to shoot your footage. Though the DVX does not offer a true 16:9 mode, it does offer the letter box and squeeze modes which simulate the look while still using the camera’s 4:3 aspect ratio CCD.

Here you can see an example of the camera's normal or 4:3 mode. The normal shooting mode makes use of the camera's native 4:3 CCD sensor which provides the most resolution per frame. Most televisions in the U.S. are still 4:3 aspect ratio, standard definition boxes but with the current progression to high-definition, many households are moving to 16:9 aspect ratio televisions.

As you can see, the letter box mode on the DVX uses a matte effect to place black bars over the top and bottom of the frame giving the footage the 16:9 aspect ratio. However, this mode cuts down on the resolution of the material. By removing the top and bottom of the frame you are wasting the resolution that this part of the frame would normally produce.

As the name implies, squeeze mode uses a process of stretching and then squeezing the footage to fit into a 16:9 frame. As you can tell from the frame above the image is stretched vertically. When this footage is put into a 16:9 frame however, the footage is resized to fit and the image is no longer stretched vertically. This mode also results in a loss of resolution and makes framing shots more difficult because of the vertical stretch imposed on each frame.

Performance

The DVX’s image performance is powered by its three 1/3-inch CCDs. The image quality produced is at the top of its class, offering great detail and color representation. The low light performance is excellent for a 1/3 CDD camera. Many MiniDV cameras suffer from very poor low-light performance, but with its larger CCD pixels, the DVX offers the best low-light performance seen from almost any 1/3” MiniDV camera. For a standard definition MiniDV camera, the DVX’s only competition in image quality is the Canon XL-2

Throughout the review process the DVX has shown that it has two features that that truly separate it from the rest of the growing number of prosumer MiniDV cameras. First, with its 24P Advanced mode and wide array of internal camera settings, the DVX can achieve a look similar to film at a fraction of the cost. There is a reason that so many new low-budget features are being shot on the DVX100a. It provides some of the best and most realistic film-looking footage seen from a MiniDV camera.

The next feature which separates the DVX from its competition is its powerful audio capabilities. Audio performance is often over looked in most MiniDV cameras, but if you want to produce a professional looking and sounding project, the DVX has the required hardware. It's two XLR inputs are both capable of recording 16-bit audio, and each input can deliver phantom power to the mic. The internal sound hardware and pre-amps in the DVX produce some of the best sounding audio we've seen from a MiniDV camera in a long time.

Overall the Panasonic DVX100a is a very strong performer. The camera's powerful audio capabilities and sharp image quality definitely class it in the professional and prosumer market, but for such a small package this camera definitely delivers. This is a camera that would be at home in the hands of an up-and-coming director just as it would be in those of an experienced videographer looking for a powerful handheld that can deliver strong visuals.

Pros: Great image quality, powerful audio features, variety of shooting modes

Cons: 10x Optical Zoom, no true 16:9 support

Last Word: This camera is probably not going to be the first choice for someone just looking to capture their kid’s soccer game and the like, but for anyone who is looking to get serious about producing high quality, professional content on a tight budget, this camera should be at the top of your list.

Detailed Specifications

Pick-Up Device (size & type): 1/3-inch progressive 3-CCD
Picture Elements (pixels): 410,000
Quantization: 12-bit
Sensitivity: F 11.0 at 2000
Minimum Illumination: 3 lux (F 1.6, 18dB gain, 50 IRE output)
Aspect Ratio: 4:3, 16:9 letterbox, 16:9 digital squeeze
Zoom Range: 10X, f=4.5 to 45mm, 35mm equivalent: 32.5 to 325mm
Focus: Manual, Automatic Focus Assist
Media Format: Mini-DV
Recording Format: DV25
Frame Rates: 60i, 30P, 24P, 24P Advanced
Shutter Speeds (sec.): 60i: 1/60 (OFF), 1/100, 1/120, 1/250, 1/500, 1/1000, 1/2000; 30P: 1/30, 1/50 (OFF), 1/60, 1/120, 1/250, 1/500, 1/1000; 24P/24PA: 1/24, 1/50 (OFF), 1/120, 1/250, 1/500, 1/1000
Slow Shutter Speeds (sec.): 60i: 1/4, 1/8, 1/15, 1/30; 30P: 1/4, 1/8, 1/15; 24P/24PA: 1/6, 1/12
Synchro-Scan Shutter (sec.): 60i: 1/60.3 to 1/250.0; 30P: 1/30.1 to 1/250.0; 24P/24PA: 1/24.1 to 1/250.0
CineSwitch Technology: Yes
CineGamma Software: Yes
Assignable Scene Files: 6
Infrared Recording: No
Programmable User Buttons: 2
White Balance Selection: 2 manual, 1 preset
Super Iris: No
Gain Selection (dB): 60i: 0, +3, +6, +9, +12, +18; 30P/24P/24PA: 0, +3, +6, +9, +12 (0dB fixed, show shutter mode)
Color Matrix: 4 preset
SMPTE Color Bar Generator: Yes
IEEE 1394 Interface: Yes
LCD Screen: 3.5", 200,000 pixels
Viewfinder: .44" Color/BW switchable LCD, 180,000 pixels