Panasonic Releases Upgrade to Pro Camcorder Line: The AG-HPX370
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Panasonic announced a new professional HD camcorder today with the release of the AG-HPX370. The camcorder represents a minor upgrade over its predecessor, the AG-HPX300, with the biggest improvement involving updates to the 3MOS imaging system. The AG-HPX370 will be available later this month with a suggested retail price of $11,700. The camcorder will also be on display next week at the National Association of Broadcasters convention in Las Vegas.
The AG-HPX370 has the same size imagers as its predecessor (three 1/3-inch CMOS sensors), but Panasonic improved things with its newly developed U.L.T. imagers. According to Panasonic, these improved sensors should produce less noise and better sensitivity due to improved processing and newly developed photodiodes. Essentially, Panasonic claims the imagers on the new camcorder should work more efficiently and better than on previous models.
Other features on the AG-HPX370 are mostly unchanged from what was offered on the AG-HPX300 (with its firmware upgrade installed). The camcorder still uses AVC-Intra compression as well as supporting DVCPRO HD and a number of standard definition recording options. The camcorder includes a variety of frame rate settings—1080/60i, 1080/30p, 1080/24p, 50i, 25pN, and variable frame rates in 720p mode. The AVC-Intra codec continues to offer 10-bit, 4:2:2 sampling—an advantage that Panasonic believes it holds over other professional camcorders that record using MPEG-2 compression.
One other new feature on the AG-HPX370 is a minor setting called "one-clip recording." This feature allows you to group video clips as one complete clip (with clip markers shown), rather than simply splitting up every clip automatically. The camcorder records to regular P2 cards (it has two card slots) and comes with a 17x Fujinon lens. As with the AG-HPX300 before it, the AG-HPX370 has an interchangeable lens system that includes the option of using a 1/3-inch or 2/3-inch lens adapter.
Saturday, May 1, 2010
Canon XF300 First Impressions Camcorder
Introduction
The XF300 (and XF350) is the newest pro model from Canon—and the company's first to feature flash memory recording. The camcorder has many of the same manual controls and features as Canon's HDV line of professional camcorders, but the company also packed in a number of exciting updates and design improvements. The XF300 will be available in late June with an MSRP of $6799 and it will be on display next week at the National Association of Broadcasters (NAB) Convention in Las Vegas.
If you want professional connectivity options like an HD-SDI terminal, Canon also announced the XF350. The XF350 is identical to the XF300, except for the fact that it has an extra set of ports (and it costs $7999
The XF300 (and XF350) is the newest pro model from Canon—and the company's first to feature flash memory recording. The camcorder has many of the same manual controls and features as Canon's HDV line of professional camcorders, but the company also packed in a number of exciting updates and design improvements. The XF300 will be available in late June with an MSRP of $6799 and it will be on display next week at the National Association of Broadcasters (NAB) Convention in Las Vegas.
If you want professional connectivity options like an HD-SDI terminal, Canon also announced the XF350. The XF350 is identical to the XF300, except for the fact that it has an extra set of ports (and it costs $7999
Samsung
Samsung may not be a go-to camcorder brand in the U.S. like Canon, Sony, Panasonic, and JVC are, but at least it's trying to differentiate its lineup. The HMX-R10 is a perfect example. It's compact and reasonably priced for a full HD camcorder (though its 1080p video results aren't as good as its other resolution options). It also has a lot of shooting features and, in an attempt to make use more comfortable, Samsung angled the R10's lens at 25 degrees to reduce strain on your wrist. If you can adjust to shooting like this, it works well; however, Samsung made some other design choices that miss the mark. In the end, the R10 is at its best as a point-and-shoot camcorder, a step up from pocket minicamcorders, but not as capable as prosumer models.
The R10 definitely has an eye-catching design. Its capsule-shaped body--available in silver and black versions--is slim enough to slip into a large pocket or small bag. The lens is immediately noticeable as different. Angled up 25 degrees, the camcorder is meant to be used with your wrist straight instead of cocked back. It makes for more natural positioning for shooting video and photos, but if you're used to a traditional camcorder positioning, it takes some time to adjust. The right side is curved in so your palm fits into the body. There is no traditional hand strap on the R10, only a wrist strap. This is perhaps because of the angled lens, but regardless, it makes for a less than secure grip on the camcorder made worse by the fairly slippery body material. You'll certainly want to use the wrist strap and shoot with two hands (left hand on the left edge of the display) as much as possible.
As for its controls, they're both good and bad. On top is a shutter release for photos and that's all. Moving to its back is a Mode button for switching between capturing still images or video, a vertical zoom rocker for the modest 5x optical zoom, and a record button. (Below these controls is a covered panel with Mini-HDMI port, DC in, and proprietary USB/AV jacks.) While larger hands should have no problem using these controls, smaller ones will probably struggle to reach them and keep a secure, steady grip when recording. Especially when using the zoom rocker, which should be moved to the top. (By the way, the HMX-R10's image stabilization is electronic only. In my tests, it didn't appear to work well.)
Flip open the 2.7-inch touch-screen display and you'll get a second set of record and zoom controls (necessary if you have an overhand grip on the R10) as well as a Q.Menu button that lets you program up to four of your most regularly used shooting features (focus, white balance, resolution, exposure, and so on) for fast changes. In the LCD cavity are three more buttons: power, Easy Q, and display/iCheck. When the camcorder's on, the display/iCheck button toggles the onscreen information on or off; however, when the R10's off, the button gives you gauges for remaining battery life and storage capacity. Easy Q is Samsung's simplified automatic mode with little access to adjustments.
The touch screen is used for changing settings, including manual adjustments to focus, shutter speed, and aperture should you choose to do so. Unfortunately, the screen isn't the most responsive, so making these changes can be trying. Also, there's no option to calibrate the touch screen. However, on the upside, you get a touch focus option that lets you focus the camcorder on the correct person or object with a simple touch.
On the bottom of the camcorder is the battery and memory card compartment. The Samsung doesn't have internal memory storage, so you'll need to supply an SD/SDHC card. Also, because the compartment is covered, there's no opportunity to get a larger, longer-life battery. Luckily, its battery time is very good for its class, but you may still want to invest in a backup pack. There is a built-in flash on the front of the camcorder; however, but it can't be used as a video light. There's no accessory shoe nor are there jacks for adding an external mic or headphones. This isn't so much a surprise as just something to be aware of if you're in need of those things. What is a surprise is the complete lack of lens protection. The R10 comes with a protective case to slip the entire thing into, but as far as just tossing it in a bag goes, you'll have to be very careful not to scratch the lens.
The R10 definitely has an eye-catching design. Its capsule-shaped body--available in silver and black versions--is slim enough to slip into a large pocket or small bag. The lens is immediately noticeable as different. Angled up 25 degrees, the camcorder is meant to be used with your wrist straight instead of cocked back. It makes for more natural positioning for shooting video and photos, but if you're used to a traditional camcorder positioning, it takes some time to adjust. The right side is curved in so your palm fits into the body. There is no traditional hand strap on the R10, only a wrist strap. This is perhaps because of the angled lens, but regardless, it makes for a less than secure grip on the camcorder made worse by the fairly slippery body material. You'll certainly want to use the wrist strap and shoot with two hands (left hand on the left edge of the display) as much as possible.
As for its controls, they're both good and bad. On top is a shutter release for photos and that's all. Moving to its back is a Mode button for switching between capturing still images or video, a vertical zoom rocker for the modest 5x optical zoom, and a record button. (Below these controls is a covered panel with Mini-HDMI port, DC in, and proprietary USB/AV jacks.) While larger hands should have no problem using these controls, smaller ones will probably struggle to reach them and keep a secure, steady grip when recording. Especially when using the zoom rocker, which should be moved to the top. (By the way, the HMX-R10's image stabilization is electronic only. In my tests, it didn't appear to work well.)
Flip open the 2.7-inch touch-screen display and you'll get a second set of record and zoom controls (necessary if you have an overhand grip on the R10) as well as a Q.Menu button that lets you program up to four of your most regularly used shooting features (focus, white balance, resolution, exposure, and so on) for fast changes. In the LCD cavity are three more buttons: power, Easy Q, and display/iCheck. When the camcorder's on, the display/iCheck button toggles the onscreen information on or off; however, when the R10's off, the button gives you gauges for remaining battery life and storage capacity. Easy Q is Samsung's simplified automatic mode with little access to adjustments.
The touch screen is used for changing settings, including manual adjustments to focus, shutter speed, and aperture should you choose to do so. Unfortunately, the screen isn't the most responsive, so making these changes can be trying. Also, there's no option to calibrate the touch screen. However, on the upside, you get a touch focus option that lets you focus the camcorder on the correct person or object with a simple touch.
On the bottom of the camcorder is the battery and memory card compartment. The Samsung doesn't have internal memory storage, so you'll need to supply an SD/SDHC card. Also, because the compartment is covered, there's no opportunity to get a larger, longer-life battery. Luckily, its battery time is very good for its class, but you may still want to invest in a backup pack. There is a built-in flash on the front of the camcorder; however, but it can't be used as a video light. There's no accessory shoe nor are there jacks for adding an external mic or headphones. This isn't so much a surprise as just something to be aware of if you're in need of those things. What is a surprise is the complete lack of lens protection. The R10 comes with a protective case to slip the entire thing into, but as far as just tossing it in a bag goes, you'll have to be very careful not to scratch the lens.
The Panasonic SDR-H85
The Panasonic SDR-H85 is like having a small telescope that's able to capture standard-definition video. With its 70x lens you'll have no problem getting closer to your subject, and its optical image stabilization is very good even if you're moving. (You'll still want to use a tripod or other support whenever possible; the O.I.S system is good, but not that good.) You get full manual controls, too, as well as an 80GB hard drive for storage and the ability to expand that with SD, SDHC, and SDXC memory cards.
The H85's video quality is merely OK, but it's typical of what you can expect from any current standard-def consumer camcorder. Low-light movies are particularly poor, though, due to heavy noise. Also, those needing jacks for an external mic or headphones won't find them.
This camcorder is simply an inexpensive, easy-to-use option for capturing average standard-definition video with a megazoom lens. Don't expect the fine-quality SD video found before HD camcorders took over the market. At this point, you're money is going for the lens and the storage, not the video results.
If you're interested in this model but you don't need and/or want the hard drive, check out the SDR-T50 with its 4GB of internal flash memory and slightly smaller body. Those who want to save some money can pick up the SDR-S50 which has no internal storage, but records to SD, SDHC, and SDXC memory cards.
| Panasonic SDR-H85 | |
| Price (MSRP) | $349.95 |
| Dimensions (HWD) | 2.8 x 2.8 x 5.5 |
| Weight (with battery and media) | 8.3 ounces |
| Storage capacity, type | 80GB hard drive; SD, SDHC, SDXC cards |
| Resolution, sensor size, type | 800K pixels (total), 1/8-inch CCD |
| LCD size, resolution | 2.7-inch LCD, 123K dots |
| Lens (zoom, aperture, focal length) | 70x, f1.9-5.7, 33-2,571mm (35mm equivalent) |
| Minimum illumination | 5 lux |
| File format (video, audio) | MPEG-2 (.MOD), AVC/H.264 (.MP4), Dolby Digital stereo |
| Resolution (video/photo) | 704x480 / 640x480 |
| Recording time at highest quality | 18 hours, 30 minutes (80GB) |
| Image stabilization type | Optical and electronic |
| Battery type, rated continuous life | Lithium ion rechargeable, 2 hour 55 minutes |
There's nothing out of the ordinary about the design of the H85 other than it being very small for having such a long zoom lens and an 80GB hard drive. The top and left sides are a mix of shiny black and chrome plastic, while the right side is matte black plastic. (It's available in blue and silver versions, too) The handstrap is attached low on the body, but with the camcorder being so small and lightweight it doesn't flop over to the left if you release your grip. The body is compact enough to slip in a large, coat pocket or handbag. However, the bump caused by the hard drive on the right side makes it a bit larger than the flash-memory-based T50 and S50 models.
Controls are pretty typical of this type of camcorder--at least of those without a touch screen--and everything is well positioned. Slip your right hand into the strap and your fingers will be in reach of the zoom rocker and shutter release on top, buttons for going between Intelligent Auto (iA) and Manual shooting modes and activating the optical image stabilization, and a slider on back for going from record to playback and back again. The movie record button is positioned under your thumb to the right of the battery pack, which juts from the back of the camcorder. There is no need to change to a photo mode to take a still picture--just press the shutter release.
Flip open the LCD and to the left of the screen you'll find a button for activating the tracking autofocus, a five-way joystick for navigation and making manual shooting adjustments, and a Menu button. Pressing in on the joystick brings up mode-specific shooting options like accessing focus, white balance, shutter speed, and aperture in Manual mode.
Creating Photo Slideshows in DVD Studio Pro
The DVD Experience
When putting together a DVD you tend to want to add more media to it than just the main video. This can be things like production photos, family pictures, or a different collage of media. If you do want to display a number of photos you can do it as a slideshow in DVD Studio Pro and can leave the editing program
behind entirely.
Making the Slideshow
Doing a photo slideshow is one of the easiest functions in DVD Studio Pro. First you must create a base menu to link to the slideshow. The best way to do this is to link to the slideshow’s specific menu from the opening menu. This can be in the form of a Special Features selection, or simply one that says Photos. Here you construct a menu that is correlative to the photo slideshow and then set a button that will play the slideshow just as a video and audio track would. Go up to the action bar directly below the task bar where it has a number of possible things you can do, such as Import Asset and Add Track. There is an option for Add Slideshow, which you click. One will appear in the graphical view along with all of the other DVD components like your menus and video tracks. Open up this and you will be given a special display down below where the timeline is when you are dealing with a video track. Here you are now able to drag pictures from the asset browser on the upper left hand side into the area, where they are now numbered in order of when they will appear. After you put the pictures in the order you would like them to appear you can select what, if any, type of transition effect you would like to come between them. On the far right of the slideshow display you are able to select exactly how long you want each picture to stay on the screen and whether or not you would like some type of pause. The standard time for the photos is five seconds, and that is its default setting. The far right detail menu will allow you to change a number of settings for the slideshow, including how you want it displayed on the screen and if you want any audio playing in the background. Once you are done putting it together you set it to return to its menu once it is finished and double check all of the button connections as you would with any other DVD component.
Simple But Important
This may seem like a simple thing to put on a DVD, but it can be key to making your project have more of a lasting significance. Especially if you are trying to sell your film it is important to pack as much onto the DVD as possible to show people as much as you can about the production.
When putting together a DVD you tend to want to add more media to it than just the main video. This can be things like production photos, family pictures, or a different collage of media. If you do want to display a number of photos you can do it as a slideshow in DVD Studio Pro and can leave the editing program
behind entirely.
Making the Slideshow
Doing a photo slideshow is one of the easiest functions in DVD Studio Pro. First you must create a base menu to link to the slideshow. The best way to do this is to link to the slideshow’s specific menu from the opening menu. This can be in the form of a Special Features selection, or simply one that says Photos. Here you construct a menu that is correlative to the photo slideshow and then set a button that will play the slideshow just as a video and audio track would. Go up to the action bar directly below the task bar where it has a number of possible things you can do, such as Import Asset and Add Track. There is an option for Add Slideshow, which you click. One will appear in the graphical view along with all of the other DVD components like your menus and video tracks. Open up this and you will be given a special display down below where the timeline is when you are dealing with a video track. Here you are now able to drag pictures from the asset browser on the upper left hand side into the area, where they are now numbered in order of when they will appear. After you put the pictures in the order you would like them to appear you can select what, if any, type of transition effect you would like to come between them. On the far right of the slideshow display you are able to select exactly how long you want each picture to stay on the screen and whether or not you would like some type of pause. The standard time for the photos is five seconds, and that is its default setting. The far right detail menu will allow you to change a number of settings for the slideshow, including how you want it displayed on the screen and if you want any audio playing in the background. Once you are done putting it together you set it to return to its menu once it is finished and double check all of the button connections as you would with any other DVD component.
Simple But Important
This may seem like a simple thing to put on a DVD, but it can be key to making your project have more of a lasting significance. Especially if you are trying to sell your film it is important to pack as much onto the DVD as possible to show people as much as you can about the production.
Windows 7 - Record-Capture-Import Camcorder Video
Over 5 versions of Windows Movie Maker the word used to get video has changed 3 times. You Record camcorder video with MM1, Capture with MM2 and Import with MM6 and Windows Live. Let's see how each version 'gets' video from my Sony TRV80 mini-DV camcorder tapes using a firewire cable in Windows 7.
Setup Mini-DV Camcorder with Firewire
When I connected a mini-DV camcorder using firewire, and turned it on in VCR mode, nothing happened. It didn't ping, popup, or give other evidence of noticing. MM1, MM2.1, MM2.6 and MM6 didn't recognize it.
The Windows Live suite, with it's Video Acquire Wizard tucked into the Photo Gallery folder with Windows Live Movie Maker resolved it. After downloading and installing the suite, connecting the camcorder resulted in it being recognized. The needed driver was automatically found and installed in a few seconds, and I was ready to start getting camcorder clips.
I'll start with Movie Maker 1, the original version, and work up to the newest ones. I'm running each in XP or Vista compatiblity mode as appropriate, in case it helps.
Record (get video) with Movie Maker 1
Recording video from a mini-DV camcorder typically offers you the choice of a large DV-AVI file or a smaller compressed one in WMV format. I prefer the larger higher quality files up front, for maximum quality. Then when a project is finished I'll save it to whatever file type and quality is appropriate, depending on how I'm distributing it.
The DV-AVI file type recorded by MM1 is type II, a sightly larger file then the newer type I made by MM2 and higher. The type II is the same visually, but has an extra copy of the audio track. Some older software only works with type II files, while newer software accepts either.
The file comes into the computer as a single large DV-AVI file. MM1 then imports it into a collection as a set of clips, auto detecting the scenes and naming each based on time/date info. See the image below, which shows clips from a 6 minute segment. It's interesting that the footage was originally captured using MM2.1 in XP, made into a project there, saved to a DV-AVI file and copied to the camcorder. Now it's coming back from the camcorder tape using MM1 running in Windows 7, and the time/date code survived the whole trip.
Capture (get video) with Movie Maker 2.1
Version 2.1 is the movie making workhorse of XP. It's been around now for about 5 years and has provided endless hours of fun for those engrossed in making custom effects, transitions and title overlays. If anyone is going to miss the current version as they move to Windows 7, it'll be the dedicated users of MM2.1.
The capturing process in Windows 7 worked as in XP. The auto-creation of clips resulted in the same breakdown as in MM1, a dozen clips named after the time/date stamp info. The DV-AVI file is the newer type I instead of the type II obtained by MM1.
Import (get video) with Vista versions MM6 and MM2.6
Movie Maker 6 is in all versions of Vista while MM2.6 was a special release for those whose graphics cards didn't effectively run MM6.
Movie Maker in Vista shells out the importing process to a wizard. MM2.6 is a stripped down version of MM2.1 from XP, with the Capture feature removed.
I couldn't get the Vista capture wizard to work in Windows 7, the only one that didn't.
Import (get video) with Windows Live Video Acquire Wizard
The Video Acquire Wizard in the Windows Live Suite is the default for importing in Windows 7. When the camcorder is plugged in and turned on in VCR mode, it pops up to start the importing process.
The file created is a type I DV-AVI. When the import session is finished, Photo Gallery opens automatically and shows the thumbnail for the new clip. Windows Live Movie Maker doesn't have the collections feature of MM1 thru MM6... think of Windows Live Photo Gallery as the collection library. You bring the clips into Windows Live Movie Maker as needed for a project.
This is the usual and preferred way to get video from a mini-DV camcorder into Windows 7.
Summary
Movie Maker versions 1 and 2 are more self-contained applications than the software app teams of Vista and Windows 7. With a camcorder driver installed, MM1 and MM2 can be used in the Windows 7 environment.to get video from a mini-DV camcorder connected by firewire.
MM6 and the newest Windows Live Movie Maker are more like key players on a team, not stand-alone stars. The Vista team with MM6 uses a CaptureWizard which doesn't work in the Windows 7 environment, while the Windows Live team uses the WLXVideoAcquireWizard in the Photo Gallery folder, something designed to work in Windows 7 (and Vista).
I have more than enough ways to get my mini-DV camcorder tape footage into Windows 7. As my camcorder supports 'pass-thru', analog video sources connected to the camcorder with RCA and S-video cables are converted to DV by the camcorder.
I used a mini-DV camcorder and DV-AVI files to illustrate the process. Having WMV files created instead of DV-AVI is an option with each tool.
Setup Mini-DV Camcorder with Firewire
When I connected a mini-DV camcorder using firewire, and turned it on in VCR mode, nothing happened. It didn't ping, popup, or give other evidence of noticing. MM1, MM2.1, MM2.6 and MM6 didn't recognize it.
The Windows Live suite, with it's Video Acquire Wizard tucked into the Photo Gallery folder with Windows Live Movie Maker resolved it. After downloading and installing the suite, connecting the camcorder resulted in it being recognized. The needed driver was automatically found and installed in a few seconds, and I was ready to start getting camcorder clips.
I'll start with Movie Maker 1, the original version, and work up to the newest ones. I'm running each in XP or Vista compatiblity mode as appropriate, in case it helps.
Record (get video) with Movie Maker 1
Recording video from a mini-DV camcorder typically offers you the choice of a large DV-AVI file or a smaller compressed one in WMV format. I prefer the larger higher quality files up front, for maximum quality. Then when a project is finished I'll save it to whatever file type and quality is appropriate, depending on how I'm distributing it.
The DV-AVI file type recorded by MM1 is type II, a sightly larger file then the newer type I made by MM2 and higher. The type II is the same visually, but has an extra copy of the audio track. Some older software only works with type II files, while newer software accepts either.
The file comes into the computer as a single large DV-AVI file. MM1 then imports it into a collection as a set of clips, auto detecting the scenes and naming each based on time/date info. See the image below, which shows clips from a 6 minute segment. It's interesting that the footage was originally captured using MM2.1 in XP, made into a project there, saved to a DV-AVI file and copied to the camcorder. Now it's coming back from the camcorder tape using MM1 running in Windows 7, and the time/date code survived the whole trip.
Capture (get video) with Movie Maker 2.1
Version 2.1 is the movie making workhorse of XP. It's been around now for about 5 years and has provided endless hours of fun for those engrossed in making custom effects, transitions and title overlays. If anyone is going to miss the current version as they move to Windows 7, it'll be the dedicated users of MM2.1.
The capturing process in Windows 7 worked as in XP. The auto-creation of clips resulted in the same breakdown as in MM1, a dozen clips named after the time/date stamp info. The DV-AVI file is the newer type I instead of the type II obtained by MM1.
Import (get video) with Vista versions MM6 and MM2.6
Movie Maker 6 is in all versions of Vista while MM2.6 was a special release for those whose graphics cards didn't effectively run MM6.
Movie Maker in Vista shells out the importing process to a wizard. MM2.6 is a stripped down version of MM2.1 from XP, with the Capture feature removed.
I couldn't get the Vista capture wizard to work in Windows 7, the only one that didn't.
Import (get video) with Windows Live Video Acquire Wizard
The Video Acquire Wizard in the Windows Live Suite is the default for importing in Windows 7. When the camcorder is plugged in and turned on in VCR mode, it pops up to start the importing process.
The file created is a type I DV-AVI. When the import session is finished, Photo Gallery opens automatically and shows the thumbnail for the new clip. Windows Live Movie Maker doesn't have the collections feature of MM1 thru MM6... think of Windows Live Photo Gallery as the collection library. You bring the clips into Windows Live Movie Maker as needed for a project.
This is the usual and preferred way to get video from a mini-DV camcorder into Windows 7.
Summary
Movie Maker versions 1 and 2 are more self-contained applications than the software app teams of Vista and Windows 7. With a camcorder driver installed, MM1 and MM2 can be used in the Windows 7 environment.to get video from a mini-DV camcorder connected by firewire.
MM6 and the newest Windows Live Movie Maker are more like key players on a team, not stand-alone stars. The Vista team with MM6 uses a CaptureWizard which doesn't work in the Windows 7 environment, while the Windows Live team uses the WLXVideoAcquireWizard in the Photo Gallery folder, something designed to work in Windows 7 (and Vista).
I have more than enough ways to get my mini-DV camcorder tape footage into Windows 7. As my camcorder supports 'pass-thru', analog video sources connected to the camcorder with RCA and S-video cables are converted to DV by the camcorder.
I used a mini-DV camcorder and DV-AVI files to illustrate the process. Having WMV files created instead of DV-AVI is an option with each tool.
Definition Camcorder Revie
Today, the move to consumer high-definition video shuttled from a slow crawl to a fast pace with Sony's simultaneous worldwide introduction of the first 3 CCD consumer HDV camcorder, the HDR-FX1. The new HDR-FX1 utilizes the 1080 lines horizontal resolution / 60 interlaced frames per second frame rate for the HDV specification, which records to standard MiniDV tapes. The HDV spec was agreed upon as a standard by Sony, JVC, Canon, and Sharp for new high-definition consumer camcorders last year. Along with the announcement of the new Sony HDV camcorder comes support from major video editing software companies including Apple and Adobe.
"The HDR-FX1 is what we will consider to be the benchmark in video technology available for consumers and prosumers alike," said Linda Vuolo, Product Manager for Sony Camcorders US, as she announced the world's first HDV 3 CCD camcorder.
Although the HDR-FX1 is technically the first HDV camcorder, the HDV specification is based on a compression standard first introduced in a JVC camcorder HDV specification . That camcorder from JVC was the first consumer HD camcorder, the GR-HD1. The GR-HD1 also had a companion camcorder, the JY-HD10U, based on the same technology in JVC's professional line. "JVC is proud of our leadership in helping to launch the HDV format with the introduction of our GR-HD1 18 months ago. We welcome Sony’s decision to join us in supporting the format," said Dave Owen, General Manager of Video at JVC in reaction to the Sony announcement.
The key distinction between the JVC HD camcorders and the Sony HDR-FX1 is their shooting mode. The JVC camcorders shoot 720 lines of resolution at a rate of 30 progressive frames per second, while the Sony shoots 1080 lines of resolution at 60 interlaced frames per second. The two rates contain nearly identical amounts of information; however, one offers the benefits of progressive scan, and one a higher resolution picture. Both camcorders compress the information into an MPEG2 signal and save it on standard MiniDV tapes. Like the JVC, the HDR-FX1 is capable of recording a standard DV signal as well as an HDV signal.
The Sony HDR-FX1 from the back
Sony spokeswoman Rosemary Flynn, speaking of the new format, notes that "Being a supporter and one of the initiators of the original format [HDV], and recognizing that there is both 720 and 1080 with in the HDV format, we thought there was a demand for a 1080i product in the market. 720P certainly has its benefits, but we believe that there was a need or an interest in creating a 1080i model with a higher resolution."
The HDR-FX1 includes three 1/3-inch 16:9 1.12 Megapixel gross CCDs. Each CCD measures 960 x 1080 pixels. The inclusion of three large CCDs is a major difference between the Sony and JVC's first entry - and will likely allow the HDR-FX1 to be taken very seriously by the industry. The pixels on the CCD are not square, but oblong, which allows them to shoot 16:9 aspect ratio video. The HDR-FX1 also includes a 12x optical Carl Zeiss Vario-Sonnar T* lens, a 3.5-inch LCD screen, a zoom ring, focus ring, iris / aperture ring, as well as buttons for manual control of most picture functions.
One of the most groundbreaking features of the new HDR-FX1 is its price. With an MSRP of $3,700, the camcorder will likely sell for around $3,300 - $3,500 once it hits the streets. When Sony introduced the first MiniDV, the DCR-VX1000, camcorder in 1995, its introductory price was $4,000. Adjusted for inflation, the DCR-VX1000 would cost around $4,750 today. While some may jump at the $3,700 price tag, Sony is effectively releasing it for about $1,000 less than when they introduced the first MiniDV camcorder, an event of arguably equal signifigance. Sony is effectively offering users the jump to HDV from their highest consumer MiniDV camcorder for about $1,000, a jump from the popular professional DSR-PD170 for only about $200-$300. At this price tag, the HDR-FX1 will compete with the professional rather than the consumer models from other manufacturers, including the Canon XL2 and the Panasonic AG-DVX100. It appears, however, that Sony is not likely to have the same problems competing in the low-end professional market that JVC's first consumer HD camcorder had.
A Sony rep shows off the FireWire port on the right side
It is likely that the 1/3 in. CCDs of the HDR-FX1 will improve one of the greatest problems with JVC's first entry into the HD consumer market: low light performance. JVC rated the HDR-FX1 at a very high minimum illumination of 35 lux, and even admitted in interviews that the camcorder had problems in low light. Sony has rated the HDR-FX1 at a very low minimum illumination of 3 lux, and Sony Product Information Manager Kevin Brinkman stated, "Based on our lab testing, we believe that the FX1 low light performance will be between the DCR-HC1000 and the DCR-VX2100." If the HDR-FX1 does deliver low light performance between the DCR-HC1000 and DSR-PD170, it will be some of the best on the market, as those camcorders are among the highest rated for low light performance on CamcorderInfo.com.
 The HDR-FX1's Real Time HD Codec Engine |
According to Sony, the company has designed a new "Real Time HD Codec Engine" for encoding and decoding the HDV signal on the HDR-FX1. "Our own real-time MPEG encode/decode system has been sized and perfected to use a low amount of energy but still deliver the compression and high resolution capability that is expected by this kind of high performing model. By using our real time HD codec engine, Sony has made it possible to record and playback clear HD images at the same bitrate that the DV format is using currently in today's personal-use camcorders," said Linda Vuolo.
Along with the announcement of the HDR-FX1, Apple Computer is announcing support for the HDV spec with their popular video editing program, Final Cut. "Native HDV support in future releases of Final Cut will enable our customers to create high quality HD content with affordable HDV cameras, including Sony's much anticipated HDR-FX1 camcorder," said Rob Schoeben, Apple's Vice President of Applications Marketing.
Adobe has also stated that they will be releasing an HDV plug-in for their popular Premiere editing system later this year. "The Sony HDR-FX1 is a milestone product, bringing HD-quality video at resolutions of up to 1080i at a price that will encourage widespread adoption of HDV across the industry. In keeping with our commitment to lead the HD revolution, Adobe plans to release a HDV Plug-in for Adobe® Premiere® Pro later this year," said Steve Saylor, Vice President, Digital Imaging and Video, Adobe Systems, Inc.
Avid, Canopus, Ulead and Pinnacle also announced support for HDV. Editing support has been a big issue for HDV in the past, with third party companies supplying solutions for Final Cut and Adobe Premiere.
Consumers have been waiting for the HDR-FX1 since March 2004, when a prototype of the camcorder was first displayed by Sony at the CeBIT technology show in Hanover, Germany. Sony followed in April, displaying the prototype of the HDR-FX1 at the National Association of Broadcasters annual convention in Las Vegas. Little information about the HDR-FX1 was available at those two shows; however, the version announced today does look very similar to the prototypes shown at CeBIT and NAB.
The biggest thing which camcorder enthusiasts will find missing from the HDR-FX1 is the option to shoot true progressive scan video, especially at the 24 frames per second rate which independent filmmakers seek out. When asked what Sony expects of market reception, Rosemary Flynn said "Obviously, Sony is a supporter of the HDV format, and we're bringing a camcorder to market, so we do believe there is a demand. People looking to shoot video in Hi-Definition and getting the benefits of what hi-def can give you, certainly are going to go for this camcorder; people who are looking for a 24P model are going to go for 24P."
While the camcorder does include a "faked" 24 frames progressive scan and 30 frames progressive scan mode called CineFrame 24 and 30, it does not offer true progressive scan filming. In February 2002, Panasonic introduced the first 24 frames progressive scan camcorder which recorded to MiniDV tape, the AG-DVX100. The camcorder came to market in October of 2003. The AG-DVX100 has been a major competitor for Sony's DSR-PD170. The 24 frames progressive scan feature in the DVX100 was so popular that it was the major addition to Canon's XL2, which was introduced in July of this year.
The market is now clearly divided between Canon and Panasonic with their 24P camcorders and Sony and JVC with their HDV camcorders. While Canon is a member of the HDV consortium, Panasonic did not join the group and has expressed dislike for the HDV format. While the Panasonic 24P camcorder sells for around $3,500, and the Canon XL2 is hitting streets right now for just under $5,000, they will be the clear competitors for the HDR-FX1. As Flynn put it bluntly, users now have a clear choice between HDV and 24P. At the same time, Sony has thrown much support behind 24P, and Sony officials stress that the lack of a 24P option in the HDR-FX1 is not symbolic of the company's greater direction.
Although the camcorder does not include a 24P function, Sony is not totally ignoring those in the independent filmmaking community who want a "film look" out of their camcorder. The HDR-FX1 includes a Cinematone Gamma feature which, according to Sony, creates a professional-looking film-like feel for the video by improving skin tone capabilites and better 3-D depth of field.
The HDR-FX1 includes a 3.5 in. 16:9 aspect ratio diagonal high resolution LCD screen, featuring 250,000 pixels. The LCD features Sony's hybrid technology for best viewing in bright light. The LCD on the HDR-FX1 has been positioned towards the front of the handle, a unique position that breaks away from the typical left-side positioning. The LCD screen unfolds to reveal the HDR-FX1's VCR controls. The HDR-FX1 also includes a high resolution color viewfinder, also featuring 250,000 pixels.
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| Viewfinder | LCD |
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| Lens Ring | Gain dial |
As a camcorder costing over $3,000, the HDR-FX1's main audience will almost certainly be very high-end consumers and professionals who seek the highest levels of manual control. The HDR-FX1 includes more manual control and "real button" control than any other Sony consumer camcorder in recent history, including the DCR-VX2100. On the lens barrel, the HDR-FX1 features a "non-perpetual" zoom ring that includes markings to indicate the magnification of the lens. In front of the zoom ring is a ring which controls focus. On the front, to the left of the lens, is a smaller metal dial dedicated to controlling the iris. The HDR-FX1 also includes button controls for shutter speed, white balance, and gain. The camcorder offers manual gain levels of 0 dB, 3 dB, 6 dB, 12 dB and 18 dB. The HDR-FDX1 has a shutter speed range of 1/4th of a second to 1/10,000 of a second and an aperture range of f/1.6 to f/11. The camcorder lets you set the aperture at 24 levels between the minimum and maximum and gives you on-screen aperture ratings. The HDR-FX1 also includes manual audio level control and two built-in Neutral Density filters that stop the lens down by 1/6th or 1/32nd.
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| ND Selector and auto focus control | Gain and white balance preset buttons and controls |
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| Manual control access buttons located on the bottom left of the HDR-FX1 | |
"Sony recognizes that the FX1 is important to the videographer and enthusiast market, and we felt that we wanted this camcorder to have lots of manual features that would be totally adjustable," Rosemary Flynn said of the high level of manual control on the HDR-FX1.
Sony has included three different methods of controlling the zoom on the HDR-FX1. The first is the zoom ring mentioned above. They have also included a rocker switch on the right handle, which was explained as very similar to that of the DSR-PD170. The HDR-FX1 also features a zoom rocker, which can be set to constant or variable zoom speeds, on the top camcorder handle.
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| Side handle zoom lever | Zoom ring and selector |
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| Top handle zoom lever | Control dial |
The HDR-FX1 also offers a new level of customization which hasn't been seen previously on a Sony consumer camcorder. The HDR-FX1 includes three custom preset buttons that can be assigned a variety of camcorder functions. The camcorder carries over the custom preset menu options of the DCR-HC1000 and also allows the user to create custom menus. There are preset gain settings that can be assigned to a button on the camcorder, and a new "Picture Profile" feature that allows the user to store six different camera settings in the memory. The HDR-FX1 can smoothly transition between different picture profiles to create smooth effects such as a rack focus.
The concentration on "real button" control is somewhat of a turn-around for Sony. Recent camcorders have placed virtually all functionality into touch-screen LCDs, including their prosumer DCR-HC1000. "There are various reasons we did not go with touch screen; one of them, of course, being the body design of the camcorder. The LCD is, of course, located in the front of the eye level viewfinder and a touch screen would have been challenging to interact with," said Flynn.
Sony is also introducing accessories with the HDR-FX1. The VCT-FXA shoulder brace attaches to the HDR-FX1 to make it a shoulder-mountable camcorder. The VCL-HG0872 wide-conversion lens will attach to the HDR-FX1's 72 mm filter mount to give it 0.8x magnification. Sony is also introducing a hard carrying case, a soft carrying case, and HDV tapes.
The form factor of the Sony HDR-FX1 is very similar to that of the DCR-VX2100, Sony's highest-end MiniDV camcorder. The body shapes are similar, with the HDR-FX1 weighing 4 lbs 10 oz, and the DCR-VX2100 weighing slightly less at 3 lbs 8 oz. The camcorder is also very similar to the DSR-PD170, the professional version of the DCR-VX2100.
Since the introduction of their first MiniDV camcorder in 1995, Sony has a history of introducing professional versions in their broadcast line of their highest end consumer camcorders. The consumer DCR-VX1000 has the broadcast DSR-PD100, the DCR-VX2000 has the broadcast DSR-PD150, and recently the DCR-TRV950 and the DCR-VX2100 have the DSR-PDX10 and the DSR-PD170, respectively. Although not much information is available, it appears that Sony Broadcast is planning to introduce a higher-end version of the HDR-FX1. According to Sony consumer, that camcorder will be available in the 1st quarter of 2005 for under $7,000. Further details are not available. However, considering the timing of this release, it seems likely that Sony will display at least a prototype of their first professional HDV camcorder at the International Broadcasters Conference being held later this week in Amsterdam.
On Wednesday, Sony is holding a press event to give journalists a first look at the HDR-FX1. CamcorderInfo.com will be reporting from the event with more pictures, information, and first impressions of the new camcorder.
The Sony HDR-FX1 will be available in November for under $3,700.
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