Tag Archives: digital_camera

Sony V1

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

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.

Q: HD quality of different cams

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Kaspar had this question to ask:

I’ve come across your webpage and have been reading your reviews on HD cameras. May I ask you a question concerning this? It seems you have quite some experience — and I seem to lack it!

I am working together with a small group of creatives and we would like to make a series of short movies: some movies about dancing/arts (for fun) and some ad movies for customers (to be shown on fares, public advertisement screens, and maybe one or two clips on television).

We have experimented a little bit with MiniDV (in combination with FinalCutPro, After Effects, and Shake) and found it disappointing. We frequently had to use keyers (to get rid of a white/green background) and the results were really bad, even though we started with a pretty good white background.

I am now hoping that HD changes this a little. But I see that many HD cams use heavy compression and therefore I fear that the resulting artefacts will make editing difficult, again. Is this so?

Or more concrete: Could you tell me maybe a camera that you could recommend (without responsibility, of course) for this type of
work? A low-budget one (say up to $2000), a semi-pro one (up to $4000) and an even better one?

I thought the answer could be helpful to others as well:

I’m afraid the quality of the video won’t change much from DV to HD. The resolution definitely will change but it seems to me you’re not after resolution. From the sound of it, you have a problem with removing the background.

First off, when doing blue/green screen work, you need a studio of some sort. You could probably do it yourself but the resulting video will suffer. The key problem with greenscreen is EVEN lighting. The way it’s done in studios is that you create a “rama” with lights spread out at precise intervals. It’s rather expensive if you want to create a similar setup at a stage (if you’re dancing on a stage that is).

In terms of cameras, any camera below $6000 is going to use HDV (25Mbps) to record the signal which means a lot of compression. So you’re right about that – HD will introduce more compression artefacts, not less. At about 6,000, you can get Panasonic HVX200 which supports 100Mbps recording ( i.e. much higher quality recording).

I certainly understand your frustration. When I bought my first camera (a SONY VX2000) I was pretty disappointed as well. Then, I bought a Lowel light kit (4 lights) and I loved the results. Your goal is a bit more ambitious but I think you’ll find out that once you solve the lighting, everything else will be easy.

Keep the questions coming :)

Panasonic HVX200 gets an award

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Panasonic HVX200Now, we all know HVX200 deserves an award. An award for making dreams come true for a lot of guys in video production and indie filmmaking.

There’s nothing wrong with getting a few “official” awards as well. On July 10, Panasonic got Bronze IDEA awarded to the AG-HVX200 for excellence in design”. Here’s the press release:

SECAUCUS, NJ (July 10, 2006) – Panasonic Broadcast announced that its high definition, solid state memory AG-HVX200 hand-held camcorder has received a bronze in the 2006 Industrial Design Excellence Award (IDEA) competition for the best designed product in business and industry.

Dislaimer: About IDEA
Celebrating its 26th year, the IDEAs are dedicated to fostering business and public understanding of the importance of industrial design excellence to the quality of life and the economy. The IDEAs are co-sponsored by BusinessWeek and the IDSA, a nonprofit association that represents the profession of industrial design to education, business, government and the public and serves the profession’s needs for information and networking.

Panasonic HVX200

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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.

Panasonic HVX200Variable 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.

Email: Is HVX200 enough?

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I get quite a few emails from people interested in becoming indie producers and filmmakers. Here’s one:

Panasonic HVX200 (Front): offers variable framerates at 720p

Thank you for your webpage and all the valuable information it contains. I had a question please: I want to be a totally independent guerrilla filmmaker, and was wondering if
the Pansonic HVX200 would be good enough a camera to start with? Is the true 24P the most important factor here?

I had intended to shoot with an HD camera of some sort, and then use the software that gives video that
“film look”.

I appreciate your time and assistance. Thank you.

My answer:

Thanks for writing. I think independent film making goes beyond the hardware. It’s true that HVX200 will get you closer to getting filmlike video than say … Sony FX1. However, film and video are two very different media and you cannot expect a $20,000 production to look like a $20,000,000. It’s bound to look “different.”

That’s why, I think you should pick a subject matter that will let you “exploit” the advantages of the digital medium and hopefully mask its weaknesses. For example, you might want to try a “reality” format for your feature. Intrusive, in-your-face camerawork with a lot of close-ups will put emphasis on video’s strengths (check out Waterborne at Google Video).

Hint: Get diffusion filters, if you plan close-ups as video is quite unforgiving to ANY skin imperfections. A good make-up artists is a plus!

I encourage you to rent HVX200 for a weekend and plan a shoot around it. There’s no better way of managing your own expectations for the final result. Once you see the results, you can either select another cam or perhaps change your script a bit to accommodate the specific “look” you get from the camera.

Remember that high-end cameras give you flexibility and protect against errors but at the end, all cameras are the same. I’ve seen some amazing photos coming out of Kodak’s single-use cameras. It’s just that a high-end Canon gives you consistency and flexibility. The same thing applies to camcorders as well.

Hope that makes sense :)

Sony FX1 for under 2,000

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Sony HDR FX1I’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).

SXSW showcases HVX200

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Panasonic HVX200There’s a report at Cinema Minima that while guys from Apple and Panasonic were setting up an Apple G5 / HVX200 combo. The point of the exercise is obviously to showcase how well HVX200 integrates with Apple’s new mac.

If you’re attending SXSW, you might want to check out some of the movie premieres as well. They boast “115 features, 50 of which are World Premieres.” Not exactly equal to Sundance’s selection but nonetheless impressive. Here’s the schedule.