FilmDailies.com - A filmmaker’s blog

I recently reviewed two minicams that could be used for “trick” photography: Ikegami HDL-20, a native HDV cam with a five-digit price tag, and Sony DXC-C33, an affordable SD cam.

The key concern when using an SD cam in an hi-def video production is to provide a seamless integration of the SD footage with MINIMUM resolution loss. If your budget allows it, go for Ikegami HDL-20 but as it often happens, you can probably spend those $15,000 somewhere else.

Sony’s PAL version minicam- the DXC-C33P, offers increased resolution (PAL’s resolution is 768×576). Let’s assume that the rest of the video production is shot with Panasonic HVX200 for its range of 720p frame rates.

PAL’s 442,368 pixels should be matched to the 921,600 pixels for 720p. If you look at the pixel counts, a 2:1 ratio is not that bad. Until you take into account that PAL is 4:3 and HD is 16:9. Shooting in PAL and then converting to 16:9 means you lose vertical resolution. How much? Pulling out my calculator… your vertical resolution will be just 432 lines (that’s 768×9/16). You lose a whopping 25 percent. So what do you do?

Ta-da. Enter the 16:9 widescreen anamorphic adapter (or an anamorphic lens if the camcorder support interchangeable lenses). The way the anamorphic adapter works is to squeeze the widescreen image onto the 4:3 CCDs. The 768 pixels of the PAL format will correspond to 1024 pixels once you un-squeeze it in post. So instead of doing a blow up from 768×432 lines to 1280×720, you’ll be doing a blow up from 1024×576.

As I mentioned in my Sony DXC-C33 review, there are no anamorphic adapters available (at least from Sony). However, Toshiba has pioneered an anamorphic adapter - the Toshiba VT-169 - that fits two of their minicams: Toshiba TU-63 and TU-48.

When shopping around, in addition to Toshiba’s anamorphic adapter, you should also check with Century Optics. They have several types of 16:9 adapters, some of the 37mm ones could work with a minicam with some tweaking.

I recently reviewed Ikegami HDL-20 as one of the pioneers in the field of ultra-compact HD cameras, a.k.a. minicams. The downside to being an early adopter though is price and in HDL-20’s case, it’s pretty steep - $20,000+.

Sony has a PAL camera (DXC-C33P) which is pretty good and flexible for a minicam but unfortunately it’s not hi-def.

The price is only one-fifth of the Ikegami unit which could save you, if you desparately need a minicam on a budget.

Here’s the company description:

The Sony DXC-C33P is a 3-chip color video camera with Firewire connectivity for limited space applications. It uses 3x 1/3-inch CCDs that output an amazing 850 lines of resolution and are sensitive for f/8 at 2000 lux. A powerful digital signal processor allows great image quality with DynaLatitude and Partial Enhance, special features usually found on high-end broadcast gear. The camera is made up of 2 pieces: the camera head that takes C-mount lenses, and the camera control unit, a control box that gives access to the various video parameters the DSP governs and the on-screen menu system. The 2 pieces are connected by a flexible cable (sold separately) that can be as long as about 90 feet (30 meters).

There are three Sony minicam lenses that come as standard accessories - none of them are anamorphic, i.e. convert from 4:3 to 16:9. You most definitely need an anamorphic adapter as otherwise you’ll be losing a lot more resolution (converting from 4:3 to 16:9 in post).

I haven’t seen a lens adapter that small but the camera comes with a standard c-mount type lens mount, so it which should accommodate other lenses as well.

The GOOD news is that the dimensions of the camera put it in the ultra-compact class (32×38x40mm). The camera head weighs just 48 grams which allows you to mount it on ANYTHING, even on a remote-controlled toy car. If I were you, I would be careful where I mount it though. It’s still a pretty expensive camera ($4,000+).

To put the DXC-C33 into perspective, Sony’s smallest HD cam, the HC1 weighs 680 grams (24 ounces) and Sony’s regular-sized FX1 is 2 kilos (4 pounds).

In terms of camera accessories, you have no choice but to buy a lens and a recording unit. There’s an optional 30 meter cable that links the camera to the control unit which could come in handy as well (if you need to put the camera on a pole). There’s a company in the UK that’s already putting these on poles - not surprisingly, the company’s called Polecam.

It’s interesting to see if some of the new USB 2.0 webcams can deliver an image that’s worth anything.

Recently, when I reviewed Sony HC1, I said it’s the smallest, most compact HDV cam. It would seem I got it wrong, as Ikegami has had a smaller hd camera for some time now.

Ikegami HDL-20 is a ultra-compact HD minicam with some amazing features. It comes with an inpressive price tag but considering you’ll probably rent it for a day or two of “trick” photography, it’s a good option to consider.

If you’re on a low budget, however, you have little choice but to tinker with a Sony HC1 camcorder. Maybe you can remove the recording mechanism or fit it with a lens adapter.

Here’s the description found at the site:

The HDL-20 is a HDTV camera with an ultra-compact camera head incorporating two 2/3-inch 2.2 million-pixel CCDs. As external sync signal input and HD-SDI output are provided, the HDL-20 is suitable for trick shooting in special fields of the broadcasting sector. Despite the fact that it utilizes only two CCDs, the camera incorporates a newly developed ASIC for digital processing to achieve a resolution as high as three-CCD cameras.

It all sounds OK, although the last sentence bothers me a bit. If 2CCDs are just as good as 3CCDs, why am I not seeing MORE 2CCD cameras? Anyway, the important features are as follows:

• Excellent resolution (pixel count is 1920×1080)
• 4:2:2 color space
• Big, 2/3 inch sensors (albeit 2 instead of 3)
• Ultra-compact (40 x 53 x 65 mm) and lightweight (less than 200 g)

If there’s a downside to using this camera as your next helm cam, it’s the price tag. The MSRP is $30,000. Yep, that’s THIRTY thousand. I didn’t put another zero for effect. So if you’re super-rich and your MTB weighs 2 pounds there’s no reason why your helm cam should weigh more than several ounces.

This minicam is a good option for “trick” photography - as a pole cam or miniatures cam because of its 2/3 inch mount which accepts a variety of professional HD lenses (also very expensive).

If you’re like me, you better stick to Sony - their SD minicam is the Sony DXC-C33. You will need an anamorphic adapter though to make up for the resolution loss.

When I reviewed accessories for HVX200, I went through tripods and heads. Today we examine matte boxes, filters, lens adapters, and storage. Next, I’ll review lens adapters for HVX200.


Matte Box: HVX200 is a filmmaker’s dream and no dream is complete without a matte box. The matte box is not simply meant to make you look like a filmmaker. It reduces flair and also serves as a way to standardize filters and gels.

For example, Vocas matte boxes accommodate 3X3″ through 4×6″ filters and work with most wide angle lenses in both 4:3 and 16:9 aspect ratios. Matte boxes usually start below $1,000 but once you add a few flags and masks and you could be in the $2,000+ range.

Filters: Your spanking new matte box needs some fancy filters. Tiffen has its series of filter sets that supposedly create a “filmlike” effect. Considering the frame rates supported by HVX200, it will be a shame not to go for the film look.

The 4×4″ Film Look set costs about $700 and you’ll probably need more than these. Keep in mind that heavy use of filters will result in a reduction of the light going to the CCDs. In other words, more filters will require bigger lights. Early footage from the HVX200 is pretty dark so you might need quite a few lights to make anything work.

If you shoot in bright sunshine, you might want to get a bunch of softening and neutral density filters of different grades. ND filters will reduce light, softening filters will soften the harsh quality of the sunlight.

Storage: The HDV cameras that are in HVX200’s class all support recording to MiniDV. In order to utilize fully DVCPRO HD, HVX200 records to P2 memory chips. This means if you plan to record anything longer than an hour, you need additional storage. At the very least it could be a laptop - get one with a big HD and fast USB/Firewire ports (USB 1.1 vs USB 2.0). You could also get an external hard drive but that will only serve as a backup recorder.

OK, I think we just spent another $6,000-8,000 easy. No money for lens adapters. You can borrow these anyway. I’ll review lens adapters for HVX200 in a separate post.

You still got to get lens adapters, capture / real-time cards, editing software, editing workstation/server, etc. Not to mention - a ton of lights. But that’s another post!

When Sony’s first HDV camcorder, the HDR-FX1, was introduced at $3,000, I thought that this will be the entry-level HDV cam for some time.


In the year that followed, several new HDV camcorders came on the market (Sony Z1 and JVC GY-HD100U). Sony’s main competitors in the DV field both have announced their HD cams: Canon XL H1 and Panasonic HVX200.

Both Sony and (recently) Sanyo have come up with one CCD/CMOS models that are significantly cheaper than the 3CCD FX1. Sanyo has introduced a mini-cam that’s supports HD (720p) - Sanyo HD1. As a Sony owner though, I’ll start with Sony HC1 review.

SONY HC1 Review - Chips and Video

The HC1 has a single 4:3 aspect ratio CMOS chip. In comparison, Sony FX1 has three CCDs which are natively 16:9. The FX1 pixel count is lower - 1.12 megapixels per CCD - while HC1 has 1.98 megapixels in 16:9 mode. This matches exactly the 1080i standard - 1920×1080.

The HC1 1080i CMOS chip performs very well in well-lit environments, on par with its more expensive brethren. Colors are crisp and the resolution of the video image is really outstanding. A true HD cam.

SONY HC1 Review - Controls

Although HC1 is considered a lower class cam, it allows certain control over important functions. Most of these are automated but perform relatively well. For example, the auto-focus is quick and responsive - very similar to the FX1. Speaking of AUTO, the HC1 has a master auto switch that will put the camera in a full auto mode. The only thing you’ll be controlling in this mode is the zoom.

Sony HC1 has a touch screen and supports spot focus and spot metering. Touching the screen will reset the focus/metering to match this specific point. Another nice touch is having AE shift that allows four levels of “correction”.

You can also control the shutter speed, focus, zoom, and white balance but these are pretty obvious and taken for granted. The control over the zoom and the focus are pretty good (for a consumer cam).

All things considered, Sony HC1 is a terrific entry-level HD cam. You can use it as a disposable cam for guerilla filmmaking or as a helmet cam for extreme sports videos. Your “other” option for a “lipstick” cam is the Ikegami HDL-20. It’s a fist-size cam with some impressive sensors that’s designed for “trick” photography. The downside is the price tag (~$17,000), roughly equavalent to 10 HC1’s.

Of course, you can shoot your daughter’s birthday in HD too. Nikita Mikhalkov released a feature-long film about his daughter’s first 18 years (technically, from 6 to 18). You could be next! You should keep in mind you won’t come across as a “PRO” with a cam like that … it’s almost like using a webcam for production.

Update: Sony HC3 is HC1’s successor - read the Hc3 review.