Category Archives: HD Cameras

A review of high definition digital camcorders

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.

Another Panasonic HVX200 review

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Panasonic HVX200Adam Wilt from DV Magazine reviews Panasonic HVX200 and gives it DV’s Award of Excellence!

Here’s the scoop:

Pros:
Flexible P2 solid-state recording. Support for 480-, 720-, and 1080-line formats. Variable frame rates. High-quality DVCPRO intraframe compression. Full frame shown on LCD and EVF. FireWire and USB file transfer. Tasty 4.2 mm wide-angle zoom with minimal aberration.


Cons:
Expensive P2 solid-state record-ing. Coarse, low-res CCDs with noticeable aliasing. Side-heavy when handheld. Power zoom lacks slow, fast speeds. Hard to zoom smoothly. No 25 Hz format support. No letterboxed down-conversion.

Bottom Line:
The HVX200 “Manycam” offers unparalleled flexibility, shooting four image sizes in two aspect ratios at three different bitrates with 11 frame rates plus true single-frame. It records on tape and solid-state P2 cards, with Panasonic’s naturalistic image rendering. Its SD pictures are very good, but its HD pix lag the competition in fine detail.

Remember: 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.

Sony FX7 and the new CMOS sensor

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When I compared Sony FX7 to Sony FX1, I didn’t know what to make of the new CMOS sensor.


In the past, CMOS sensors were only used in single-CMOS, low-end camcorders like the Sony Hc1 or HC3. As far as I know, there were practically NO advantages to using CMOS over CCD.

Things might have changed with the new generation of CMOS sensors from Sony. Just take a look at the graphic below.

Sony FX7 CMOS sensor

Apart from the 45 degree angle of the pixel layout, Sony claims the new ClearVid CMOS chips have a new processor which interpolates the 960×1080 pixels of each CMOS to achieve “full 1080p” (i.e. 1920x1080p).

Normally, interpolation is looked upon because it implies smearing and artefacts (just check out your digital zoom). Sony, however, claims that the new CMOS setup actually results in more detail and less smear and has this pic to prove it.

Sony FX7 CMOS sensor

As you can see, there’s a lot more detail in the brick wall. There’s also improvements in the way the new CMOS sensor reduces smear/flair and improves the dynamic range (see below).

Sony FX7 CMOS sensor

I eagerly expect another camera shootout that will validate (or not) Sony’s claims as this could mean a radical shift from CCDs to CMOS sensors for high-end cameras as well (e.g. Sony V1U).

Sony FX7 vs FX1 comparison

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I keep staring at the specs for the new Sony HDR-FX7. It’s hard to see the differences between the “old” Sony FX1 and it’s upgrade.


Here’s the side-by-side comparison:

  • Resolution: Sony claims FX7 now supports “full” 1080 HD
  • Sensor: FX7 now sports 3 x 1/4” ClearVid CMOS
  • Light sensitivity: worse by 33% (4lux)
  • Zoom: increased to 20x optical zoom
  • Lens/filter: decreased to 62mm
  • Video out: FX7 includes HDMI
  • Weight: FX7 now weighs only 1.6 kg (3.52 lb.)

The small form factor and the zoom increase are important for some applications but I do have concerns about the light sensitivity. First, it looks like the lens has gone DOWN in size which affects the light hitting the sensor. Second, the sensor change to CMOS also means worse low-light performance.

Most consumers who use cameras in that range usually don’t use professional lighting, so they often experience problems with underexposed video or video with too many artefacts.

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 :)

Filmlike video

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I just found this video tutorial (?) about achieving filmlike video. It talks about screen ratios, interlaced vs progressive shooting, and more.

Filmlike video

Right-click video, then select “Save Target As…”

For a 5 minute video, it packs plenty of info. It missed one very important point (that I frequently come back to): LIGHTING.

Lighting is one of the magic ingredients when going for filmlike video. Just look at the segment in question – the blue background light creates much needed separation between subject and background. (In video, this separation is often achieved by adding a certain color – usually blue; in film, you have many more options.)

I’m not 100% sure if this is a Panasonic HVX200 in the background. I was hoping to see someone putting the new Sony FX7 to good use!

Sony HDR-FX7

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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.

Sharp’s ultra high res monitor

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While I’m debating with myself whether I should go for a 1080 TV or settle for a 720 one, Sharp have introduced an amazing 64 ” monitor that’s 4000×2000 pixels. That’s right, it’s effectively an 8 megapixel monitor. Four times the resolution of a 1080 TV.


Sharp Ultra high res monitor

That’s still about 25 million pixels shy of the UHDV format (7,680 × 4,320 pixels) pioneered by JBC.

It took quite a while for cameras to catch up with regular HD, Sony recently upped their FX1 cam to “full HD 1080″ with the new Sony FX7.

RED camera endorsed

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Thanks to Mike Curtis, we get another endorsement for the amazing RED camera, slated for release in April.

Red Camera

If you can’t read the image, it says:

The RED Mysterium sensor has finally pushed digital acquisition past the timeless 35mm film barrier in resolution and clean color fidelity.

The endorsement is by David Stump who is not only a member of the ASC but is the chair of the Digital Camera subcommittee for the ASC.

RED camera releases in April

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RED cameraI’ve been raving about the amazing RED camera for the last month. It stole NAB2006 with its revolutionary resolution.

Mike Curtis has added new info about the RED camera, including a target release date – April 2007. Here’s a summary of the timeline:

  • Redcine – more info about it in November
  • Final info on RED lenses, again in November
  • 20 to 30 cameras put together in December for shakedown testing
  • Shipping cameras in March/April 2007

If you’re still now blown off by the RED specs, just imagine having RED instead of your poor USB web cam.

RED camera steals NAB2006

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RED cameraThe RED camera has been in development since 1999. Its claim to fame is the record-breaking resolution: roughly 11.4 Mega pixels. That’s 4520 by 2540 pixel resolution which is about five times the resolution of a $100,000 Sony F950 camera, by far the leader in the field.

Another major advantage is the size of the sensor. It’s 24.4 x 13.7 mm which is equivalent to a Super 35mm film frame. This means you get simmilar (if not identical) depth of field and you can probably use a lot of the 35mm lenses as well.

The camera was presented at NAB2006 and stole the show – got a Best of Show vote. I still haven’t found anyone who’s actually done some shooting with it. Once I do, I’ll post it here. Overall, all great news for indie producers.

Update: RED camera will likely be released in April 2007. Units will be available for testing starting December though.

Phantom v4 – slow motion test

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If there’s ONE quality to the new Phantom camera, it has to be its capability for slow motion. Good slo mo was a ground reserved for film cameras. You could go for speeds of 750+ FPS without much sweat. With video we were mostly stuck with 60FPS (and that’s not something you see THAT often).

The slow motion tests have been posted to Youtube, so I’m sharing them below. The footage has been shot at speeds of 1,000 FPS!

You can compare them to the slow motion footage from the HVX200 (if the link is still working.

HD Cams for Extreme sports videos

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Recently, I spent a night (well, not the WHOLE night) at a bar that was showing extreme sports videos to the tune of your normal bar music. Although this was at a ski resort, most of the guys weren’t into extreme sports, yet they kept looking at the displays. The displays were big but definitely not HD which made me think: “Imagine how much attention a REAL high definition extreme sports video will attract!”

Panasonic HVX200With this in mind, lets think about the gear you need to capture extreme sports in HD. We all know a few crazy heads so hopefully finding “characters” won’t be much of a challenge. Keeping them alive is another matter though.

Once you’ve decided on a sport - be it extreme skateboarding / snowboarding or wakeboarding, it’s gear time. Every sport is different and some have even “rules” about camera angles so your HD camera will need to meet those. For example, most extreme skateboarding videos feature fish-eye shots, i.e. very wide angle shots that have pronounced barrel distortion.


Taking extreme skateboarding as an example, here’s what your shopping list of features might look like:

  • Fish-eye: either through an interchangeable lens or through an adapter
  • Small enough to carry in a backpack
  • Sturdy construction to withstand at least a few falls
  • Neutral density filters
  • A tripod or some sort of a harness
  • Long battery life
  • Etc

Now, some of these will be more important than others but the point is you need to start with a (mental) image of the finished product. For example, getting the extreme wide-angle look could mean getting a camera with interchangeable lenses like the Canon XL H1. Or, you can get a fixed-lens camera (HVX200) and use a lens adaptor. One problem with adaptors is that they’re optimized for specific models, so if you’d like to use a specific adaptor, you’ll need to get (buy or rent) a specific camera.

You get the point – it doesn’t matter if you shoot white-water rafting or weddings – you need to consider your shots beforehand. I’m not saying you should start storyboarding every frame. Rather, come up with your ten “staple” shots/compositions and plan for those. There will always be extraordinary situations that you cannot plan ahead – after all you’re doing guerilla filmmaking.

Canon XH Series

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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

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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.

Sony HC3

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Sony’s first HDV camcorder, the HDR-FX1, was introduced at $3,000. Sony’s HC1 hit a below-$2,000 sweetspot. Enter the new Sony HC3 – available for around $1,000.


Sony’s current HDV line up is as follows: at the top end, it’s the Sony Z1. Sony FX1 is next in line, then the HC1, and finally, the HC3.

Sony’s main competitors in the DV field both have their HD cams: Canon XL H1 and Panasonic HVX200. Neither Canon nor Panasonic, however, have the range of cameras that Sony does.

SONY HC3 Review – Chips and Video

Sony HDR-HC3Sony HC3 has a single 4:3 aspect ratio CMOS chip – the same as the one in the HC1 . In comparison, Sony FX1 has three CCDs which are natively 16:9. The FX1 pixel count is lower – 1.12 megapixels per CCD – while HC3 has 1.98 megapixels in 16:9 mode. This matches exactly the 1080i standard – 1920×1080.

The HC3 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. Some reviewers have observed more sharpness artifacts and more color saturation which are probably the result of Sony targeting the average Joe with this cam. The colors and sharpness can be tuned down to get a more natural video.

SONY HC1 Review – Controls

Although Sony’s HC3 is considered a lower class cam, just like its predecessor – the HC1, 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 HC3 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.

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 HC3 is a worthy successor to the HC1 and an excellent entry-level HD cam. You can use it as a disposable cam for guerilla filmmaking or as a helmet cam for extreme sports videos. You should keep in mind you won’t come across as a “PRO” with any of these minicams … it’s almost like using a webcam for production.

Email: budget camera for a documentary

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I got another email asking me info about cameras. Here’s the email and the reply:

Hi, my name is Steve and I really like your blog. I was wondering if I could ask you a question. I want to make a documentary, mostly talking heads, nothing extravagant, which could then be distributed if well liked. (By the way, I have little experience with film – I just think I can do a good job). Could you recommend what videocam I should buy. I was looking at these choices:


1) Sony HDR-FX1
2) Sony HVR-A1U (Sony HC1‘s big brother)
3) Sony HDR-HC3 (Sony HC1‘s little brother)
4) Panasonic AG-DVX100 (HVX200‘s famous predecessor)

Could you recommned which one would be a good choice?

First off, you’ve got some excellent cameras on your list. I’ve been a SONY fan for years and I’ve never been disappointed with the results I get from them. I’ve been disappointed with both Canon (XL1S, GL2) and JVC in terms of the actual video look that I get. Panasonic has been a so-so (considering I never used their 24p).

SonyHVR-A1UMoving on to the cameras. All but the DVX100 are HDV cams which will shoot in 1080i. If you feel your documentary has a chance to be shown in HD, go for one of the three SONY’s. Besides, DVX100 24p mode will not be of any specific advantage to you since you’ll be shooting a documentary.

Of the three Sony cams, I have used the FX1 which produces excellent video, even in low-light situations. If you already have a lighting kit, this won’t be a big consideration. If you don’t, getting a more sensitive camera is a must – FX1 is definitely the way to go.

Number two on my list is the new Sony HVR-A1U. It’s a based on Sony HC1 but offers additional features, including a shotgun mic that could be VERY handy when shooting dialogue on a budget. I believe you can get it for below $2,000, so that’s the budget choice.

Keep in mind though that depending on the people you interview, a bigger cam will make a better impression. You’ll be seen as a pro rather than an amateur. People have no respect for handicams (HC3 is TOO small for my taste).

If you need to switch between PAL and NTSC and you need a “big” cam that also has professional audio, I suggest you “upgrade” to Sony Z1U. It has a $4,500 price tag attached to it though.

Happy shooting and let me know how it goes!

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.

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).

HVX200 vs HD100 (a shootout)

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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!