FilmDailies.com – A filmmaker’s blog

Adam Wilt at DV Magazine, is taking a first look at Sony V1.

In a typical SAT fashion: with V1 Sony has upgraded the Z1 “prosumer” camcorder the same way it upgraded the revolutionary Sony FX1 to Sony FX7. If you’re already familiar with the FX7 or you’ve already read the comparison between FX1 and FX7, you’ll find relatively few bits of new info.


At the same time, Sony V1 is significant because it confirms Sony’s dedication to putting CMOS sensors on its prosumer line of camcorders instead of CCDs. This is an important change of direction as it affects light sensitivity, vertical resolution, and more importantly the “full 1080 HD” of FX7 and V1.

Let’s go quickly through Adam’s points:

• Design and form factor: Sony V1 is smaller than the other HDV camcorders and its form factor is close to Sony’s smaller DV models like the PD150/170. It’s also lighter than all previous prosumer models. The top handle has been moved a bit to the front which balances the camera perfectly. The LCD is on the side and has changed very little in practical terms.
• Controls: Here Adam seems to be enthralled by the new Sony: “This tight grouping of shooting controls puts them readily within reach of your focusing hand… In my opinion, this is the best Handycam control layout Sony has done.
• Audio: There’s little difference from Z1 and PD150 when it comes to audio. The camera features two professional XLRs.
• Video: The 1/4″ CMOS sensor is less sensitive to light but offers increased resolution (full 1080 HD). It also offers true 24 frame progressive mode – highly sought after by wannabe filmmakers who strive to shoot filmlike video.

Again, it’s a “sideways upgrade” because you lose some, you gain some. Here’s Adam’s conclusion:

Sony squeezed out some features in the quest to put HDV into a PD170-sized package: analog-in recording, 50 Hz/60 Hz switchability, low-light capability, and standard video connectors on the camera body. But the result is a compact, lightweight Handycam that shoots sharp, clean HDV while offering the best laid-out controls found on a small Sony, and true progressive capture to boot. Rolling shutter will be an issue for some, but overall, the V1 looks like a worthy addition to the choices available to HDV shooters.

I’m considering switching from my web cam to this baby. Here’s a short guide on how to select a web cam.

Finally! The specs for the Panasonic HVX200 have been sent to a couple of review sites. If you’re in a video production company or (even better) an aspiring filmmaker, you should start taking notes.

Update: You can already get REAL footage from the HVX200, even footage at 60p (frame rates supported by HVX200). The camera should be available in stores, so you might also want to get my recommendations for accessories for HVX200.

Here’s a summary of the important features introduced with the new Panasonic HVX200. I’ll prioritize them for you.

Variable frame rates
Panasonic HVX200 supports a variety of frame rates just like Panasonic’s Varicam (AJ-HDC27). In 720p, the HVX200 records not only in the most popular 24p, 30p, and 60p, but almost any rate between 4 and 60 as well. One limitation is that his flexibility is reserved for 720p.

When we jump up to 1080p, the camera still delivers TRUE 24p – which is amazing considering none of the HDV cams in the same price range support it. Click here for more on HVX200 frame rates.

Robust format
Panasonic HVX200’s HD format is called DVCPRO-HD. The difference between DVCPRO-HD and HDV is about 4 to 1 in terms of data throughput. DVCPRO-HD supports data rates of up to 100Mbps. This allows the camera to record video without applying as much compression as the HDV cameras do. Another advantage in terms of format is the support of 4:2:2 color space – again linked to the 100Mbps allowance. The DVCPRO-HD has been around for several years and has been used in the Varicam.

In addition to the HD format, Panasonic HVX200 also supports standard DV, as well as DVCPRO50 (Panasonic’s more professional DV format with a much lower compression ratio).

Tapeless recording (P2)
The argument tape vs, memory is still raging on. On the negative side, memory is very expensive compared to tape. An 8GB P2 chip that can hold about 10 minutes of HD (depending on frame rate) is going to cost you $1,700. On the positive, it’s quick, durable, and best of all – bound to become cheaper. SONY has pioneered a disc system – XDCAM – which is similar but naturally, cheaper because it uses Blu-Ray discs (27GB).

Panasonic HVX200 takes advantage of its data recording medium in several ways. First, you start recording immediately after you hit the button. In fact, it’s better than that. P2 allows you to start recording BEFORE you hit the button. The memory will buffer 3-7 seconds of video, so even if you don’t have split-second reactions, you’ll be able to capture action flawlessly.

Another advantage is the ability to transfer files directly to your computer (or you could back them up to Firewire drives). During shooting you can also mark takes which you like so that you can start editing in seconds.

Lens and controls
HVX200’s lens is a 13x Leica which compares favourably to SONY FX1. The zoom ring is full manual which is another big plus. Both JVC GY-HD100U and the upcoming Canon XL H1 have interchangeable lenses although the availability and variety of quality lenses is still in question.

Audio
Panasonic HVX200’s more robust format (DVCPRO-HD) allows four uncompressed channels of 16-bit 48Khz quality audio (or two stereo pairs). This is a BIG change from the HDV format.

Final verdict (based on specs)
Panasonic has created a worthy successor to the DVX100. HVX200 excels in all areas and it could be hard for a HDV camera to compete, especially, when you consider the price. At $5,995, it’s only marginally more expensive than SONY Z1 (50 bucks more) but offers a lot more. It’s much cheaper than the interchangeable lens cameras – Canon XL H1 and JVC GY-HD100U.

That’s until you consider the cost for the media. At $1,700 per a pop, 8GB P2’s are going to be a TOUGH sell. In a year’s time, it’ll probably be 2-4 times cheaper, so don’t start stocking on P2s just now. If $6,000 is too much for you, you could get Sony HC1 for less than $1,500 – it’s a more affordable, entry-level HDV camcorder. The bigger and better Sony FX1 is midway (at $3,000 it’s perfect for wedding videography) between the Hc1 and HVX200.

Update: Check out this USB 1.1 vs USB 2.0 speed comparison.

I’ve been extolling the virtues of HVX200 for the last few months.


This time, however, it’s Sony FX1 turn to shine (review of Sony FX1). How, you ask. Very simple – it’s the first time I see the camera go for under $2,000!

Apple Store has the FX1 for $1,995 – you should definitely hurry up. It can’t be linked directly, so here’s the instructions: go to Apple Store, search for “HDR-FX1″ and voila! You got an HD cam for less than 2,000.

Update: It seems the item is out of stock now (April 7).

BBC’s ENG teams will be using Panasonic HVX200 during the Winter Olympics in Torino. The information is based in part on an article that talks about BBC experimenting with Panasonic’s P2 tapeless technology.

The major issue with HVX200 at this point is that its PAL version hasn’t been released. BBC definitely shoots PAL. It’s not clear whether Panasonic sent pre-production units to the BBC.

Talking about sports coverage, BBC will probably using the interlaced modes and not the progressive frame rates.

Sony is not left in the dust either. It provides a complete solution to NBC for their coverage of the Olympics. The acquision is handled mostly by Sony HDW-730 HDCAM.

Update: It seems the BBC distances itself from more traditional media. Maybe it’s affecting camera choices as well!

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.

Barry Green (from DVXuser) has been teasing us for some time now about a four-camera shootout. The four cameras in the shootout are:

• Panasonic HVX200
• Canon XL H1
• Sony Z1/FX1
• JVC GY-HD100U

I expect that by the end of the week, Barry will be done. Disclosure: Barry is one of the people behind DVXuser so he faced some “suspicions” from some of the posters there. They expected his report will be skewed in favor of the HVX200. That’s why he has some “witnesses” to verify his findings.

Update: There’s been a major forum war on the finding of the four-camera shootout. As far as I’m concerned, there’s no winner-loser. If you want the raw 40 pages of posts, I have two links: DVX forum and Dvinfo forum.

I’ve been reviewing HVX200 accessories like tripods, monitors, storage, etc. Once I got to matte boxes and filters for HVX200, I knew I have to include lens adapters.

Panasonic HVX200 is dubbed as the low-budget filmmakers HD camera. Although it has an impressive lens (Leica, 13x zoom lens), the lens is by no means a be-all, end-all lens.


If you’re into extreme sports videos, you probably need a wide-angle lens. If you do skateboards, you need a fish-eye. It has become a standard shot although a bit cliche.

The Super Fisheye from Century Optics produces an “extraordinary degree of barrel distortion with a magnification factor of approximately .55x. Adding the Super Fisheye to HVX200’s 13x Zoom Lens, results in a 92° horizontal angle of view.” The fish-eye works wonders whether you’re shooting from below (someone jumping over you), or above (top of half-pipe).

Wide-angle lenses have an incredible depth of field so you might want to go wide for action shots or tracking shots. If the auto-focus is not 100% spot on, you’ll save your shot by going wide. Robert Rodriguez shot some of the action scenes in El Mariachi with a 5.7 Kinoptic wide-angle lens. He didn’t even need to focus, he just pointed the camera in the direction of the action.

Extreme close-ups: if you need those, there are “achromatic diopter” lenses that you attach to the zoom lens. You’ll probably only need them for a few shots, so you could just rent or borrow these. Apart from shooting flowers and bugs, you can find usage for these by shooting dilating pupils (e.g. Requem for a Dream).

Tele lenses are always popular with amateur filmmakers although not always for the right reasons. The “zoom” factor on a lens has become a marketing gimmick. Get this 400x digital zoom now. Using digital zoom however ruins the quality of the footage. There could be a few exceptions where you might need that extra push but you’ll be better off with a tele converter. There are plenty to choose from but not all are created equal. I think a 1.6x tele converter is about the highest you want to go. The ones that come from eBay are 2x and go for 50 bucks should go to the trash.

Talking of adapters and converters, there’s one important distinction to make. Converters will allow you to use the whole zoom range (i.e. go from wide to tele). Adapters usually only extend your range. For example, a .6 wide-angle adapter will give you a 40% wider angle of view. You can usually zoom a bit before you experience vignetting on an adapter.

Some manufacturers also offer (or plan to do so) 35mm lens adapters for HVX200. The discussion about these is still raging on but maybe I could do a review once the dust settles somewhat. Combining film depth of field with HVX200’s frame rates will make this camera a totally different beast. I mean that in the nicest sort of way.

The DVXuser site has been a source for all things HVX200. Jarred Land has posted some more HVX footage, this time he shot cheerleaders (wow!) at 60 FPS.

Remember that HVX200 specs stated that the camera will support a variety of frame rates at 720p: 12, 18, 20, 22, 24, 26, 30, 32, 36, 48, and 60 FPS.

The main advantage of shooting at speeds above 30 FPS is that when you play the video at 30 FPS (or 24 for that matter), it will have a slow motion effect similar to what you have when you shoot film at higher speeds.

Without further ado, here’s the forum link to the footage. All in all, I think Panasonic has done an incredible job with the HVX200. I would love to see them follow up with a bit higher-end model that offers what Canon XL H1 does, i.e. interchangeable lenses.