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Get Laid Wolfs Mating Searchforsinglesmeetsingles Fi Edine Usebetatoolbar Cgd 1 Search For Singles Meet Singles GUIDE TO BUYING A HDV AND DVCPRO CAMERA KIT - REVIEW AND COMPARE THE SONY Wolfs HVR-Z1, HDR-FX1, JVC GY-HD100 GY-HD101, Canon XL H1 and PANASONIC AG-HVX200 - WWW.URBANFOX.TV

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(true progressive)

1080/50i and 60i

25f (frame mode not true progressive)

1080/60i, 30p, 24p
720/60p, 30p, 24p
480/60i, 30p, 24p (US)

1080/50i, 50p, 25p
720/50p, 50p, 25p
576/50i, 50p, 25p (Europe)

Sampling Format:
4:2:0 HDV

Recording Bit Rate
25mbps

Sampling Format:
4:2:0 HDV

Recording Bit Rate
25mbps

Sampling Format:
4:2:0 HDV

Recording Bit Rate
19mbps

Sampling Format:
4:2:0 HDV

Recording Bit Rate
25mbps

-------------------------------

Uncompressed HD-SDI
Sampling Format 4:2:2

Output Bit Rate
1.485Gbps

Sampling Format:
4:2:2

Recording Bit Rate
up to 100mbps

1/3inch 3CCDs -
1,070,000 effective pixels
16:9

1/3inch 3CCDs -
1,070,000 effective pixels
16:9 1/3inch 3CCDs -
1,110,000 effective pixels
16:9 1/3inch 3CCDs -
1,560,000 effective pixels
16:9

1/3inch 3CCDs -
effective pixels - N/A
16:9

12:1 zoom lens
4.5 - 54mm

Carl Zeiss Lens
72mm Filter diameter

12:1 zoom lens
4.5 - 54mm

Carl Zeiss Lens
72mm Filter diameter

16x standard zoom lens
5.5 - 88mm

interchangeable 1/2 inch C-mount lenses

20x Zoom lens
5.4mm - 108mm

interchangeable lenses

 N/A zoom lens
 N/A- N/Amm

Leica Dicomar wide-angle zoom lens

colour viewfinder

plus 3.5-inch LCD

colour viewfinder

plus 3.5-inch LCD

colour viewfinder

plus 3.5 inch colour LCD

2.4 inch colour viewfinder

 N/A colour viewfinder

plus swing-out LCD

No XLR sockets on FX1

 

Two XLR sockets -
phantom power.

Two XLR sockets -
phantom power. Two XLR sockets -
phantom power.

Two XLR sockets -
phantom power.

FireWire/iLink (4 pin)
HDV in/out

FireWire/iLink (4 pin)
HDV in/out

FireWire (6 pin) -
In Europe, HDV in/out on HD101 only FireWire (4 pin)
HDV in/out

FireWire (N/A pin) 2.1kg weight (with battery) 2.2kg weight (with battery)

3.1kg weight (inc lens) N/A

3.6kg (camera body only) A good HDV successor to the VX2100. But not "professional" as it doesn't have the two XLR sockets. If that is important to you, look at the Z1 instead. Already a favourite replacement for the PD170 at the BBC. If you can't afford to shoot your doc on DigiBeta or the DSR500 - this will keep the commisioning editor happy. The main selling points are the interchanable lenses and the true 24p "film like" video recording. A nice touch is the removeable SD memory card to record personal settings. Great for multicam shoots on location or in the studio - with HD-SDI output, genlock and timecode in/out. With the IDX battery package this may make it too expensive for the low budget guerilla film maker.

Documentaries one day (1080i) and low budget film the next (24p). Those expensive P2 cards may just put some people off, but you will also be able to record to (third-party) disk like the Firestore.

Brochure

Operating Manual

Brochure

Sony Z1 Operating Manual

Urbanfox online training manual

Brochure   Brochure
Sony HDR - FX1

Sony HVR - Z1

JVC GY - HD100 + HD101

Canon XL H1

Panasonic AG-HVX200

Launched in September 2004

£2,400 approx

Launched in February 2005

£3,400 approx

Launched in September 2005

around £4,000

Launching December 2005

around £6,000

Launching March 2005

£N/A

DV, DVCAM, HDV or DVCPRO HD

[If you're budget doesn't quite stretch to HDV then I recommend you go the our DV buying guide page ]

There is a lot of confusion about these formats. DV and DVCAM use the same video codec and, so, offer the same picture quality. The big difference is that the tape runs faster through the camera in DVCAM, which makes it more robust in the event of dropout and less prone to compatibility problems. DV and DVCAM record standard definition TV pictures (in 4:3 and 16:9).

DVCAM is Sony's professional version of DV and DVCPRO is Panasonic's. DV, DVCAM and DVCPRO all use the same video and audio codec. For those of you who want to compare all three, and check out the differences, take a look at the extensive table on the video university site.

DVCPRO comes in three flavours:

HDV is a new recording format developed by a consortium of manufacturers including Sony, JVC, Canon and Sharp. I B B P B B P B B P B B

The I-frame holds the most information and is the largest frame size in terms of data.The P-frame is compressed further and holds less information than the I-frame. It predicts what will make up the image from the previous I-frame or P-frame. Then comes the B-frame, which holds the least amount of information. It is calculated by forward and backward prediction to the I-frames and P-frames or even an estimate of the in between value of them.

In DV or DVCAM, a small amount of dirt on the heads when recording could result in dropout problems on a single frame only, because each frame is independent of the other. With MPEG2 a small bit of dirt causing dropout on an I-frame could affect half a second of video, ie the whole GoP. This is why Sony manufactures a brand of miniDV tape just for HDV – which it claims will be more reliable.

MPEG2 also causes software writers, designing editing software, sleepless nights. Only the I- frames hold all the picture information – but when editing you want to edit between any frame. Final Cut Pro 5 edits native HDV - but requires a lot of processing power to do it, as it has to look at all of the GoP at once, and calculate a complete frame for each of them, so that the instant you edit, it can offer you an accurate full frame picture. If you are thinking of buying FCP5 do make sure you have a fast enough processor to do the calculations. For example, while a PowerBook could cope with perhaps four or five streams of DV at once, it will only be able to do two streams of HDV, because the software has to work an awful lot harder.

Apple's iMovie and Final Cut Express use the Apple Intermediate Codec, which transforms HDV into individual frames as the video is played into the computer. While this is more efficient for the processor, the decoding and subsequent re-encoding to HDV not only takes time, but also results in a slight loss of quality. There are ways of importing HDV into almost all editing systems, some using their own codecs, like AIC, and a small number doing (or promising they will do) native HDV editing. Many editors upconvert their HDV footage to DVCPRO HD for editing (see below). It also has the advantage of being 4:2:2, which means it retains a lot more colour information, which is handy if you are doing graphics or effects.

Another problem with the GoP form of compression comes when you pan, tilt or zoom the camera. During a camera move every pixel making up the image will change from frame to frame. But, we know that not every frame holds all the information needed. The result is that picture resolution will be best at the static start and end of the shot and not so good in between. However, in all the shooting I've done, I haven't seen any artefacts.

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