Panasonic AG-UX180. Everything the same, everything better, everything new… And a bit more

On this occasion, we are going to ignore a large part of the content because of our recent analysis of the AG-UX90 model, an almost twin sister to the one we have in our hands today and with which it shares all its features, and we will focus on the additional features offered by this superior model


Author: Luis Pavía

We would like to begin by clarifying that this will not be a laboratory dedicated to use, because we very recently did so with the UX90 model, an almost twin to the camera with which it shares all of its excellent features. We reiterate all the good things and praises we did in the earlier laboratory, and as all its features are present in the UX180 model, we will focus exclusively on the additional ones.


We invite you to read the laboratory published in number 98 of our TB Broadcast header and recall all those aspects that may seem to have been omitted in this analysis. We do it deliberately, as this is intended to be an annex to the previous publication so as not to bore you with repeated information. The briefness of this laboratory does not mean that the equipment deserves less praise, but quite the contrary, it adds the new features.


The coexistence of these two models does not necessarily mean that one is “better” than the other, it simply confirms that they have been conceived for different uses, and one of them has additional features that not everyone may need. These additional features do result in a higher price, but at the same time, it is highly contained. So we must decide whether it is in our interest to acquire them or not, which will also depend on whether our clients value and demand them. But before any of that, let’s see what they actually are.





We shall begin with the optics, which, in this case, is a Leica x20 zoom with angular end equivalent to a 24 mm in conventional photography. However, in this model, it extends its telephoto limit up to 480 mm while filming in 4K. If recording in UHD/FHD, the equivalent would be 25.4-508 mm. The digital i.Zoom extender reaches x30 magnification. With a sensor of the same size as the one-inch equivalent and the same optical stabilisation system, all the comments and observations contained in the earlier laboratory still stand.


We have already advanced one of its main features along with its optics, perhaps the most striking, and that is to be able to shoot in genuine 4K (4096×2160). Although the difference is not significant in resolution, it is in the format: 17:9. And there will no doubt be occasions where clients may request this. However, we must consider that, at this resolution, the filming will always be at 24p with a rate of 100Mbps. When filming in UHD and HD, the options in progressive (p) are 23.98/25/29.97/50/59.94 and interlaced (and logically now only for HD) 50/59.94.


Another feature, albeit less striking, affects recording formats. Unlike the AG-UX90, which has different versions for the 50 and 60 Hz markets, in this model, the AG-UX180, we can configure the time bases interchangeably. This is important, not so much because we can serve customers from all over the globe, but because it permits using all the standard frequencies of 23.98/25/29.97/50/59.94 frames per second, as well as their multiples of 100 and 120 for slow motion.


It permits recording in MP4 or MOV container formats. In any case, the bit-rate in Long-GOP with LPCM audio is 100/150 Mbps in UHD and 50/100 Mbps in HD. As particularities, there is also a 200 Mbps HD mode with intra-frame compression; and underneath (filming in AVCHD with audio in Dolby Digital), we can reduce this resolution from HD to SD, obtaining a moderate 25 to 8 Mbps.


Read the whole test in:

TM Broadcast International

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