by Kevin Cook of the IOV
I’m going to try and temper my excitement about this new camera – but it is going to be very hard. It’s been a long time since I was actually excited by a video product – it may be even as far back as when I first started playing with non-linear editing. Back then I knew I was using something that was going to be ‘BIG’ – and I think the HDV format is going to have the same kind of impact. It will change the way we work.
We’ve already seen and heard a lot about the consumer variant HDR-FX1 camera, but very quick on its heals Sony has announced that its professional version – HVR-Z1E – will be shipping in February next year. Early last month I was fortunate enough to get to see both of these cameras – courtesy of OpTex for the FX1 and Sony for the Z1E.
HDV
Both cameras record HDV or DV – and in the case of the Z1E, also in DVCAM. Putting aside the differences for a moment, the common thread is HDV. HDV records High Definition pictures using MPEG-2 compression on standard DV or DVCAM tape (though there is a new HDV Digital Master tape now available).
Original HDV pictures displayed on a Hi-Def monitor look stunning, but what’s the point in a world where only a few have access to this? Is there any point in shooting in HDV when no one can see the true quality? I think there are several points.
Both these cameras and Sony’s HDV VCRs have built-in down-converters which seem to harmlessly convert the HDV images into Standard Definition (SD). You simply shoot everything in HDV – and leave the menu set to down-convert the output. There is a growing feeling that shooting everything in HDV mode, and then downconverting to SD produces better pictures than if the material was shot in SD in the first place. I was dying to try this out and have to say that, without the benefit of measuring the output, to the naked eye the downconverted images do look richer and more detailed. I don't see the need to shoot anything in SD anymore.
Using it this way, the camera or VCR (HVR-M10E) will talk to your NLE system via IEEE1394 (FireWire/I-Link), and to all intents and purposes you would think you are using a normal DV or DVCAM unit. The main difference is the content on your camera master tape will remain in full HDV resolution.
For those creating material for future archiving, or those that see a commercial edge in being able to offer this facility, this alone might be the reason enough to go HDV. We’ve already heard many of the NLE manufacturers announcing Hi-Def compliant solutions. In this situation the camera or VCRs connect via component output. This will allow you to maintain HDV quality through to the edited master for archive – which can then be down-converted to SD for delivery.
We are, of course, going to have to wait for the next phase of Hi-Def DVD players before there is a logical delivery format, but you’ll already find the Hi-Def compliant screens in the high street stores today. I don’t think the DVD players will be far behind – and I also don’t think Europe will wait for its broadcasters to start broadcasting Hi-Def before they adopt the technology.
Sony’s HDV consumer camera is here now – but the big question is – “Should I hold on for another couple of months and wait for the HVR-Z1E, or should I buy the HDR-FX1 now?”
The Z1EPutting the HDV format to one side for a moment, my first impressions of the Z1E is that it’s a great camera. A true 16:9/4:3 switchable solution at this level would be a good enough news, but the added benefit of being able to record everything in stunning HD quality – and the ability to easily down-convert this to SD out of the back of the camera or VTR is going to be a winner amongst the pro-video community.
The variations between the FX1 and Z1E cameras are such that it really is worth waiting the few extra months – and paying a premium (if only for Sony’s Silver Support package).
Features such as DVCAM and DV recording, Hyper Gain, XLR audio connections and individual audio channel control might have been enough to differentiate them. But, the additions of PAL or NTSC recording mode, filmic effects settings, audio limiter and noise reduction – plus a more varied choice of component outputs (for when you are working totalling in HDV) – are what will make this camera a firm favourite in the pro-video community.
Available from February next year, the Z1E will be priced at around £4000 (€5,500). Quite what price it will hit the streets at I’m not sure, but it will be a fair chunk more than the street price of the FX1 (which is somewhere around the £2.5K mark). Then again, Sony list 40 additional benefits over the consumer model – which itself lists various improvements over their nearest comparative SD camera, the DSR-PD170.
Original HDV pictures displayed on a Hi-Def monitor look stunning, but what’s the point in a world where only a few have access to this? Is there any point in shooting in HDV when no one can see the true quality? I think there are several points.
Both these cameras and Sony’s HDV VCRs have built-in down-converters which seem to harmlessly convert the HDV images into Standard Definition (SD). You simply shoot everything in HDV – and leave the menu set to down-convert the output. There is a growing feeling that shooting everything in HDV mode, and then downconverting to SD produces better pictures than if the material was shot in SD in the first place. I was dying to try this out and have to say that, without the benefit of measuring the output, to the naked eye the downconverted images do look richer and more detailed. I don't see the need to shoot anything in SD anymore.
Using it this way, the camera or VCR (HVR-M10E) will talk to your NLE system via IEEE1394 (FireWire/I-Link), and to all intents and purposes you would think you are using a normal DV or DVCAM unit. The main difference is the content on your camera master tape will remain in full HDV resolution.
For those creating material for future archiving, or those that see a commercial edge in being able to offer this facility, this alone might be the reason enough to go HDV. We’ve already heard many of the NLE manufacturers announcing Hi-Def compliant solutions. In this situation the camera or VCRs connect via component output. This will allow you to maintain HDV quality through to the edited master for archive – which can then be down-converted to SD for delivery.
We are, of course, going to have to wait for the next phase of Hi-Def DVD players before there is a logical delivery format, but you’ll already find the Hi-Def compliant screens in the high street stores today. I don’t think the DVD players will be far behind – and I also don’t think Europe will wait for its broadcasters to start broadcasting Hi-Def before they adopt the technology.
Sony’s HDV consumer camera is here now – but the big question is – “Should I hold on for another couple of months and wait for the HVR-Z1E, or should I buy the HDR-FX1 now?”
The Z1EPutting the HDV format to one side for a moment, my first impressions of the Z1E is that it’s a great camera. A true 16:9/4:3 switchable solution at this level would be a good enough news, but the added benefit of being able to record everything in stunning HD quality – and the ability to easily down-convert this to SD out of the back of the camera or VTR is going to be a winner amongst the pro-video community.
The variations between the FX1 and Z1E cameras are such that it really is worth waiting the few extra months – and paying a premium (if only for Sony’s Silver Support package).
Features such as DVCAM and DV recording, Hyper Gain, XLR audio connections and individual audio channel control might have been enough to differentiate them. But, the additions of PAL or NTSC recording mode, filmic effects settings, audio limiter and noise reduction – plus a more varied choice of component outputs (for when you are working totalling in HDV) – are what will make this camera a firm favourite in the pro-video community.
Available from February next year, the Z1E will be priced at around £4000 (€5,500). Quite what price it will hit the streets at I’m not sure, but it will be a fair chunk more than the street price of the FX1 (which is somewhere around the £2.5K mark). Then again, Sony list 40 additional benefits over the consumer model – which itself lists various improvements over their nearest comparative SD camera, the DSR-PD170.
The Things I Liked
The things I really liked were the true 16:9 facility – and shooting using the 16:9 flip-out panel or viewfinder (which can be set to mono or colour on the pro version – and used simultaneously with the LCD panel). Positioning the LCD panel on the top of the carry arm seems, well – just natural. I can’t quite put my finger on why I like it there, it just seems to fit – especially when operating the camera from the hip.
The 6 preset buttons were also a revelation for me. These allow you to assign functions or camera settings to each button – so those things you often find yourself having to delve into menus to alter can be assigned to one of the 6 buttons. Without referring to the manual (because they didn’t give me one) I soon assigned different functions to each of the buttons – things such as Steadyshot on/off, white balance settings, filmic effects, Hyper Gain – and so on. Very handy if you have time to preempt filming conditions and have the settings fixed for a shoot.
Having proper turning dials to set audio levels (both channels independently on the pro version), plus proper XLR connectors for feeding external mics or line feeds – are both key features that give the Z1E the edge. The Audio Limiter (which should see off those situations where overloading causes holes in your digital soundtrack) and Audio Noise Reduction are also going to appeal to those wanting to get the most out of HDV.
On the operational side I really liked the zoom read out in the viewfinder – which should make matching shots a whole lot easier. In the FX1 it only displays a bar – but on the Z1E it gives you a number value. I also liked the quick-focus facility – which by a touch of a button takes the zoom from fully wide to full zoom to enable manual focus. Press the button again and the zoom pops back out to its previous setting.
The 6 preset buttons were also a revelation for me. These allow you to assign functions or camera settings to each button – so those things you often find yourself having to delve into menus to alter can be assigned to one of the 6 buttons. Without referring to the manual (because they didn’t give me one) I soon assigned different functions to each of the buttons – things such as Steadyshot on/off, white balance settings, filmic effects, Hyper Gain – and so on. Very handy if you have time to preempt filming conditions and have the settings fixed for a shoot.
Having proper turning dials to set audio levels (both channels independently on the pro version), plus proper XLR connectors for feeding external mics or line feeds – are both key features that give the Z1E the edge. The Audio Limiter (which should see off those situations where overloading causes holes in your digital soundtrack) and Audio Noise Reduction are also going to appeal to those wanting to get the most out of HDV.
On the operational side I really liked the zoom read out in the viewfinder – which should make matching shots a whole lot easier. In the FX1 it only displays a bar – but on the Z1E it gives you a number value. I also liked the quick-focus facility – which by a touch of a button takes the zoom from fully wide to full zoom to enable manual focus. Press the button again and the zoom pops back out to its previous setting.
The Things I Didn’t Like
Not much really. The only criticism would be that, like all cameras of this design, they are incredibly uncomfortable to operate. Holding the camera in front of you for more than a few minutes will start the muscles aching. Sony obviously recognise this and in the not too distant future we will see a bespoke camera mount system from them.
I’ve never been a fan of small cameras – but the Z1E might just have changed my mind.
I’ve never been a fan of small cameras – but the Z1E might just have changed my mind.
Catálogo da HVR-Z1 em PDF
Manual da HVR-Z1 em PDF
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