Tag Archive for 'hdv'

Canon HV20 Camcorder

Published by Administrator August 24th, 2007 in Digital Technology, HD Cameras, News bits and Video Production. 1 Comment

Although I’m not a big fan of “consumer” camcorders like Canon HV20, I’m always tempted to try them and see if they compare well to my preferred segment (that’s $3,000 to $8,000).

Canon HV20 CamcorderFirst off, the good news. It’s a small camera that you can fit virtually anywhere. It weighs less than a kilo (with battery), so you can CARRY it anywhere.


The sensor is a single CMOS sensor with over 2 million active pixels. That means a native support for 1080i format (1920×1080 pixels).

The bad news is its light sensitivity, mic inputs, and the battery life. Battery life can be extended by purchasing a better battery (BP-2L14) and you should definitely consider it if you’re shooting anything longer than an hour (which is most stuff).

DV.com’s Chuck Gloman has a more detailed review of the camera. Overall, he was impressed by the outdoors footage and the form factor. I’m still not convinced I’ll trade a small-factor Sony (like Sony HC3).

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

RED camera price and schedule

Published by Administrator June 25th, 2007 in Digital Technology, Film School, HD Cameras and Video Production. 3 Comments

There’s been quite a stir every time someone mentions the RED camera.

RED cameraFor one, its support for 4K video (4,096 x 2,160 pixels) made quite an impact last year when RED camera stole NAB 2006.

Another point is the price … point. The body will cost “only” 17,500. If you consider the average indie producer’s budget this seems quite high but at the same time, a good zoom lens could cost that much (and more). So considering the 4K capability, you’re getting an excellent deal.


So let’s go to the schedule part. The first batch of RED cameras (50 or so) will ship in August. From then on, it’s about 100 cameras per month. About 2000 have been pre-ordered already which means that if you order today, you’ll get yours in February 2008!

Which definitely is a long wait. Fear not, some of the guys who are buying it are OK to rent it for a week or two.

Sony V1

Published by Administrator March 31st, 2007 in Digital Technology, HD Cameras and Video Production. 1 Comment

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

Published by Administrator January 22nd, 2007 in Digital Technology, Film School, HD Cameras and Video Production. 1 Comment

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 :)

Sony HDR-FX7

Published by Administrator January 19th, 2007 in Digital Technology, HD Cameras, News bits and Video Production. 4 Comments

It’s hard to keep up with SONY’s new cams for one very good reason - they are skipping numbers! I thought the successor to the very successful Sony FX1 will be called FX2. Or, perhaps, FX3.


When it comes to the product name, Sony isn’t content with incremental improvements. We’re now straight to number 7. Not so when it comes to the product itself. Maybe, Sony felt that neither Canon XL H1 nor Panasonic HVX200 changed anything in the market, so why bother.

Many reviewers have likened the FX7 release to the release of the VX2100 model, hot on the steps of VX2000 (I’m a proud owner of the latter). The VX2100 offered some minor improvements in light sensitivity and a variety of interface features that made things a bit easier for the prosumer shooter.

Let’s look at Sony FX7 and see what advantages it offers.

  • Affordable (Canon XL H1’s price is almost 3 times higher)
  • Real HD 1080 support (unlike FX1’s 1440×1080 chip)
  • Good video with low light capabilities (though admittedly worse than FX1 because of the CMOS)
  • Long battery life
  • Standard HDV (using MiniDV cassettes)

On the negative side we’ve got:

  • Fixed lens (though it has been bumped to 20x zoom)
  • No XLR inputs for audio
  • No true 24p

If you look at Sony FX1’s advantages from last year, you’ll see the camera has the same things going for it with a few notable differences.

To me, the biggest difference is the sensor. In the last year, SONY has introduced a several of his low-end HD cams with CMOS sensors (e.g. Sony HC1 and Sony HC3). Is CMOS good enough for $3,000 cam though?

Harry Haruna, Manager of Camcorder Product Planning for Sony USA, had this to say:

As for resolution, because you have the CMOS technology the FX7, resolution is much higher than the FX1 in decent light conditions. On the contrary, under low light conditions the FX1 is better than the FX7, since the FX1 has a larger CCD sensor.

Sony HDR-FX7Hmm, I thought FX7 was an upgrade. It looks like it’s something of a sidegrade: if you have an FX1, keep it. If you don’t, you can either get the FX1 if you need a cam with a better sensor and bigger lens or go for the new FX7 with its smaller form factor and “full” HD 1080.

Still, if I was into wedding videography or guerrilla filmmaking, the FX7 could be quite tempting.

Then again, Canon has recently introduced more affordable versions of its $9,000 monster, the Canon XL H1. At just $500 more than the FX7, it introduces some much needed competition. If I can get FX1 for less than $2000 (Apple store had an offer like that), I’d be the happiest person … for the next 6 months or so.

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

Canon XH Series

Published by Administrator July 28th, 2006 in Digital Technology, HD Cameras and Video Production. 3 Comments

Canon XH A1 cameraI love cameras. Recently, I posted about HVX200 winning an award for design. I admit it’s a well-deserved award - HVX200 is a good-looking camera.


I just got word (and a few photos) about the upcoming Canon XH series: XH A1 and XH G1, both are based on Canon XL H1. Man, this camera is at least 10 times sexier than HVX200. Look at the specs as well:

  • 1.485 Gbps uncompressed HD-SDI output (XH G1 only)
  • GenLock input and Time Code input /output (XH G1 only)
  • 3 x 1.67mp CCDs (1/3rd-inch, 1440 x 1080, same as XL H1)
  • Digic DV II processor supporting 30fps & 24fps (same as XL H1)
  • Built-in 20x HD OIS lens with new “Instant AF” autofocus system

Just compare the 1.485 Gbps throughput to my USB 1.1 vs USB 2.0 discussion. Amazing!

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

Panasonic HVX200 gets an award

Published by Administrator July 13th, 2006 in Digital Technology, HD Cameras and Video Production. 2 Comments

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

Published by Administrator April 18th, 2006 in Digital Technology, HD Cameras and Video Production. 2 Comments

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?

Published by Administrator April 15th, 2006 in Digital Technology, Film School and Storytelling. 0 Comments

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

Published by Administrator March 31st, 2006 in Digital Technology, HD Cameras and Video Production. 6 Comments

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).

HVX200 vs HD100 (a shootout)

Published by Administrator March 29th, 2006 in Digital Technology, HD Cameras and Video Production. 3 Comments

Panasonic HVX200Barry Green at DVXUser just conducted another camera shootout. The stated reason was to dispell certain rumors that the JVC HD100 performs MUCH better when the action is fast-paced. The rumor itself claimed that when shooting action, the HVX200 became a SD cam.


You can review the screenshots of the Vegas strip. To quote Barry himself, the shootout proved:

A) the HVX is every bit as high-def as the HD100, whether shots are moving or not, and any claim to the contrary is simply and easily demonstratable to be a falsehood.

B) the HVX is clearly, obviously higher color sampling, which should dispel the 4:2:2 vs. 4:2:0 controversy.

C) I could detect no veracity to the notion that there are “overexposure artifacts” in the HVX when in 1080 mode; something that was not part of the initial claim but I figured hey, this was a good chance to see whether there was truth to that rumor or not.

So if you want interchangeable lenses or a shoulder cam, get the HD100, otherwise - HVX200!

SXSW showcases HVX200

Published by Administrator March 14th, 2006 in Digital Technology, HD Cameras and Video Production. 0 Comments

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.

HVX200 at the Olympics

Published by Administrator February 12th, 2006 in Digital Technology, HD Cameras and Video Production. 0 Comments

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.

Panasonic HVX200 (Front): offers variable framerates at 720pThe 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!

Special cameras: Sony DXC-C33

Published by Administrator January 25th, 2006 in Digital Technology, HD Cameras and Video Production. 0 Comments

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 DXC-33Sony 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.

Shooting Mini-Me: Ikegami HDL-20

Published by Administrator January 23rd, 2006 in Digital Technology, HD Cameras and Video Production. 0 Comments

Ikegami HDL-20Recently, 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.

Steve Jobs on Sony HC1

Published by Administrator January 14th, 2006 in Digital Technology, HD Cameras and News bits. 0 Comments

Steve Jobs have captured hearts and minds with his Macworld San Fran 2006 presentation (I got it as a torrent for iPod). I’ve seen posts about it all over the place, some praising his presentation skills (Guy Kawasaki), some commenting on the Intel insides of the new MacBook Pro.

There’s a ton of new stuff coming from Apple, but the interesting bit is below. Steve Jobs included one HDV camera in the presentation: the Sony HC1 .

Steve Jobs presents ... Sony HC1

More robust cameras like Panasonic HVX200 and Canon XL H1 shouldn’t feel threaten though. I’d imagine Steve included it because HC1 is an ultra-affordable HDV cam at the $1,500 range, truly a remarkable achievement for Sony. Apple should really look up to Sony - I want them to take one of Sony’s LCDs and put it on the next generation of video iPods, so that they play movies.

As to Steve, what can I say… great minds think alike. I did a review of the Sony Hc1 just a day before Steve :)

Update: Kevin Smith touts HVX200, so Sony HC1 is not the only “winner”.

Four-camera shootout

Published by Administrator January 11th, 2006 in Digital Technology, HD Cameras and Video Production. 2 Comments

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

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.

Cheerleaders in slomo - courtesy of Panasonic HVX200

Published by Administrator January 10th, 2006 in HD Cameras and Video Production. 5 Comments

Panasonic HVX200 is all over the site and for a good reason. I finally got to see some of the 60 FPS footage shot by Jarred Land at DVXuser.


He got amazing CHEERLEADERS in real slow motion!

Cheerleaders in slow motion thanks to Panasonic HVX200

You can download the clip directly - click here. Keep in mind the clip has been resized and compressed.

The original was shot at 720p - 60 FPS. HVX200 supports a whole range of frame rates at 720p but I’ve always found that slow motion is much, much more useful. I’m a bit hesitant to check what Jarred’s next test will be. For all I know, he could decide to switch to sexy babysitters!

Panasonic HVX200: Lens Adapters

Published by Administrator January 9th, 2006 in Digital Technology, HD Cameras and Video Production. 7 Comments

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 fish-eye lens for Panasonic HVX200 for extreme sportsThe 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 converter for Panasonic HVX200Tele 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.

Panasonic HVX200: More Accessories

Published by Administrator January 7th, 2006 in Digital Technology, HD Cameras and Video Production. 3 Comments

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 for Panasonic HVX200Filters: 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.

P2 storage for Panasonic HVX200Storage: 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!

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