Back on 10th November 2009 Sony Professional UK invited me over to their HQ to see their new prototype of the first NXCAM branded solid-state camcorder. They allowed me to take the only prototype in the UK away with me so I could evaluate it and try it out for a few days.
Since then I’ve spent a few more weeks with the HXR-NX5E NXCAM camcorder. Actually I’ve been in the USA for 3 months so Sony were kind enough to FedEx an NX5 over to me in Hays, Kansas, where I have been shooting with the camera. After spending more time using the NX5, I’m now in the position to give you a more comprehensive review in full; so here goes.
WHAT IS NXCAM?
NXCAM is brand new so I’m going to give you a brief low-down on what it is. NXCAM is Sony’s all-new product name for their entirely new Sony digital video production system. It’s not DV or HDV, it’s not XDCAM EX, it’s something else entirely. NXCAM is Sony’s AVCHD (Advanced Video Codec High Definition) camcorder system, but there’s a difference: this is Sony’s ‘Professional’ AVCHD camcorder system. Until now Sony haven’t had any serious-level AVCHD products; quite surprising considering Sony jointly invented the AVCHD codec with Panasonic. But all that is about to change with their first professional hand-held AVCHD camcorder; the HXR-NX5E, under the all-new NXCAM brand.
WHAT IS AVCHD?
If you’re not familiar with the new AVCHD codec I’ve outlined some of its technologies with some direct comparisons to the HDV codec.
Announced in 2006 by Sony and Panasonic, this new industry-standard format is now supported by more than 30 companies and implemented in numerous camcorders, NLE systems, and consumer HD playback devices. The AVCHD codec is considerably more modern than the older HDV codec. It uses a variety of techniques to achieve greater efficiency than MPEG-2, especially at low bitrates and when dealing with difficult material. AVCHD should be capable of delivering really amazing results but we’ll get into real world performance later on.
What’s beyond debate is that HDV has a resolution of 1440x1080 and uses the MPEG-2 compression codec, while NXCAM on the other hand uses full 1920x1080 HD with the more modern MPEG-4 AVC/H.264 codec (H.264 is what Blu-ray and Sky HD broadcasts use). And of course AVCHD’s efficiency makes it ideal for tapeless operation: it uses SD (Secure Digital) and SD/HC (High Capacity) cards, Sony Memory Sticks and other solid-state flash drives such as Sony’s dedicated HXR-FMU128 128GB flash drive.
AVCHD has twice the compression efficiency and considerably improved video performance, especially at lower bitrates, over the older MPEG-2 compression algorithm used in the HDV codec. HDV uses a “constant” bit rate of 25 Mb/s whereas AVCHD camcorders such as the NX5 use a more efficient “variable” bit rate, with a maximum quality setting of 24 Mb/s.
In contrast with MPEG-2 (HDV), in which inter-frame compression based on the correlation between adjacent frames uses fixed blocks of 16x16 pixels, AVCHD divides the blocks into multi-sizes as small as 4x4 pixels along with 4x8, 8x8 and 8x16 also, and every variation in-between using these block structures. With this method, it is able to use large blocks to process images that show only slight changes on the screen, and smaller blocks to process images that have considerable change. This raises the accuracy of motion compensation, which in turn, boosts the quality of fast-motion images while increasing compression efficiency.
The recording capacity using the Sony HXR-NX5E onto a single 32GB Memory Stick or SD/HC card is as follows:HD/FH (17Mbps) 1920x1080 HD = 255 minutes.
HD/HQ (9Mbps) 1920x1080 HD = 385 minutes.
HD/LP (5Mbps) 1920x1080 HD = 605 minutes.
WHO IS NXCAM FOR?
So who is NXCAM aimed at and where will it fit into the current marketplace? Having got up to speed with NXCAM and the new NX5 camcorder I would say that it is aimed at a somewhat varied marketplace including those who are currently using cameras such as Sony’s own Z5 or Canon’s XH G1s for example, but who want to move over from tape to an affordable solid-state system, DVCAM users looking to move over to HD, those stepping up from consumer camcorders, event and wedding videographers, corporate video producers, SIV (Special Interest Videos) producers, independent low-budget filmmakers, and even TV ENG work and various documentary productions. With regard to image quality, the new NX5 has a very high quality Sony G-lens, superb Exmor ClearVid CMOS sensors, and of course the more advanced AVCHD codec, this trio of factors adds up to a very impressive image at this price range; more on this later.
HXR-NX5E CAMCORDER:
In a nutshell the NX5 is basically a Z5, but solid-state only. The cost is similar too; the NX5 cost £3,450 inc. There are three key differences. The body is slightly shorter and stockier at the back end due to the fact that the NX5 has no tape-drive mechanism. On the back of the NX5 there are two card slots for Memory Stick cards (these slots also accept SD/HC cards too: nice). Also, on the side of the NX5 there is an area that accepts the bolt-on HXR-FMU128 flash drive. The FMU28 is a solid-state flash drive with a capacity of 128GB. This drive is an optional extra. Without it, the camcorder simply comes with a heavy-duty plastic cover that locks securely into place neatly covering the socketry from the elements.
Other differences include an HD/SDI output and a GPS (Global Positioning System). From what I can gather, all the little buttons and dials are slightly larger and less fiddly than on the tape-based Z5. I suspect this is because there is no tape mechanism so there is more room on the body for a ‘neater’ and more ‘logical’ layout of switches. I’m glad to see that Sony has used slightly larger switches and buttons on the NX5. Low-light shooters will be glad to know that the NX5 is approximately 1.5 stops better (minimum illumination 1.5-lux) than the older tape-based Z1. Even though the physical ‘form-factor’ of the NX5 is only slightly different from the Z5, overall, the lines of the NX5 just look sexier with sleeker lines and nicer curves; she’s a modern girl; oh baby!
The NX5 is the very latest in camcorder technology; it’s bang up to date with some superb state-of-the-art technologies and features.
Depending on who you speak to, different people have different views on what makes a decent image. Some will say it’s all about the bit-rate, others say it’s all in the glass, while some might even tell you it’s all in the sensors. Well, they are all wrong. It’s actually an amalgamation of all three - and other things. Sony recognises this fact and this is why the NX5 is so darn good; especially at this price range. It has a brand new lens, Sony’s own in-house designed G-lens. This lens first hit the market with the Z5. Then it has the very latest Exmor CMOS Sensors with ClearVid technology. Then finally the very latest AVCHD MPEG-4 AVC/H.264 codec, which has the job of processing the images taken from the G-lens and onto the Exmor sensors. Add to this Sony’s fastidious circuitry and it all adds up to a great image that is simply untouchable by the competition at this price level.
Just to clear up the confusion with the two models on the Sony web site. There is an NX5E and an NX5M; the latter need not concern you as it is not available in the UK or USA. The only difference is that the NX5M has no ‘GPS’ system built in. The reason is simple, in certain countries like Syria and North Korea any device with GPS built in is banned; after all it is used in the military; think about it!
BUILD QUALITY:
The HXR-NX5 is ok with regard to build quality. Overall it feels lightweight – possibly because it doesn’t have the bulk factor of a tape transport mechanism - and a bit on the ‘plastic’ side. I’ve always said if I’m spending £3,500 on a camcorder I expect it to feel a bit more substantial than this. I feel that JVC are slightly ahead of Sony in build quality with their more budget priced camcorders. However, I feel that the NX5 is marginally tougher than the EX series; even though it is actually cheaper. But don’t worry; I’m just a fussy bugger when it comes to build quality. The NX5 won’t fall apart anytime soon and the plastics it is made out of are the tough polycarbonate type, which is designed to ‘flex’ as apposed to ‘crack’ when it takes a knock. It is in fact slightly better built than the Z1 and its replacement, the Z5; in my opinion. If you are used to using a Z1/Z5 you won’t be disappointed. As a comparison, the NX5 is far superior in build quality over Panasonic’s HMC151. Just to inspire confidence, I personally would buy an NX5 tomorrow and have no serious concerns with its build quality. Oh, the NX5 is ‘Made in Japan’; so expect reliability to be of the highest order.
THE SENSORS:
The NX5 features the very latest 1/3rd inch Exmor CMOS sensors with ClearVid technology. What is ClearVid I hear you ask? The ClearVid system optimises both resolution and low light sensitivity versus more traditional pixel-shift CCD’s. It does this by interpolating additional resolution from diagonally-set pixels, on each individual R, G and B sensor, rather than interpolating horizontally and vertically across the three sensors. This ensures maximum resolution, in a smaller sensor, whilst the larger rotated pixels give you that all-important sensitivity. The NX5 also utilises the revolutionary Exmor noise reduction processing, which is a highly advanced noise reduction system that gives a much cleaner image.
THE LENS:
The new NX5 has the same Sony G-lens 20x Zoom, offering an amazing wide angle of view from 29.5mm (great for filming in tight spots) right through to a whopping 590mm (great for wildlife filming). The 20x zoom G-lens is a recently developed piece of glass coming from the Sony-acquired Minolta lens division; so it is developed and built in the house of Sony; and what a cracking lens it is too. The optics are super sharp with amazing colour reproduction. This new G-lens boasts not only a focus and zoom ring, but an aperture ring too. However, all three are of the ‘servo’ type, which have no end stops. They feel a bit vague when focusing and zooming. I found it easier to focus by hitting the ‘PUSH AUTO’ focus button. This lets the camera automatically focus as long as you hold the button down (though the camera is rather slow to do this), then when you release it, it retains that focus spot. The servo aperture ring is slightly more accurate in its ‘feel’ and I found it to be perfectly usable in full manual mode, which is the only mode to work with for any serious applications. If you want the camera to take a ‘best guess’ at the exposure for you, simply hit the ‘IRIS’ button and let the camera set the exposure, then hit it again to revert to manual and tweak with the aperture ring and the use of zebras (I set zebras at 95% and watch for blown-out highlights). The zoom ring (again, vague) works well enough for setting a new focal length, which (again in my opinion) is all it should be used for. I tend to treat a zoom lens as a set of primes and not for horrible nauseating so-called zoom shots.
The lens hood is Sony’s usual nice design with built in lens cap that is opened and closed via a little lever on the side of the hood. This is far better than the competition’s affairs that have to be physically removed from the camera and stuck in your back pocket. I also particularly like the fancy ‘Gold’ line painted around the lens, but then I do go a lot by nifty appearances like this. That’s about it for the lens, apart from it’s superb built-in optical image stabiliser; more on that later.
THE CODEC:
The NX5 uses the AVCHD codec, which is an efficient long-GOP codec using the MPEG-4 H.264 compression algorithm (as used on Blu-ray HD DVDs and Sky HD broadcasts), albeit at a much higher maximum bit rate of 24 Mb/s (variable) with Linear PCM audio ensuring great images and sound.
This AVCHD compression does end up offering better all-round picture performance over the older HDV codec, although there is an impact in the editing process as it requires a higher level of processing power and therefore you may need to upgrade your editing system! Also, as the AVCHD codec is so new, some editing systems don’t yet support it so we will have to wait for the software companies to catch up with the AVCHD technology. So far Sony’s Vegas Pro 9, Adobe Premiere Pro CS4 (for Mac and PC) and Edius Pro all support AVCHD natively. Apple’s Final Cut Pro and AVID MC do not. Final Cut Pro uses, don’t despair. Simply import using the log and transfer and transcode into Apple ProRes 422. Hopefully Apple will support AVCHD natively with a future upgrade.
RECORDING MODES:
The NX5 has more recording modes than you can shake a stick at. There’s plenty for everyone in both HD and SD; those shooting in the past, the present and the future, those who are hanging onto ‘interlace’ like grim death and those who are shooting their way ‘progressively’ into the future; that would be me then.
Recording options and frame-rates include:
AVCHD FX (24Mbps) 1920x1080/50i, AVCHD FH (17Mbps) 1920x1080/50i, AVCHD HQ (9Mbps) 1440x1080/50i, AVCHD LP (5Mbps) 1440x1080/50i, AVCHD FX (24Mbps) 1920x1080/25p, AVCHD FH (17Mbps) 1920x1080/25p, AVCHD FX (24Mbps) 1280x720/50p, AVCHD FH (17Mbps) 1280x720/50p, MPEG SD HQ (9Mbps) 720x576/50i, MPEG SD HQ (9Mbps) 720x576/50i (25p Scan)
So there you have it, virtually every recording mode and frame-rate you could wish for.
ADVANCED ACTIVE STEADY SHOT IMAGE STABILISATION SYSTEM:
The NX5 uses a brand new ‘Active Steady Shot’ system. This offers an extremely stable picture without blur. More powerful stabilisation is made possible by increased coverage of the optical lens and the improved motion detection with state of the art compensation algorithms. The new Super Steady Shot takes it to the next level. Sony claims that this new system removes the need for a body-mounted stabilizing system; I don’t know if I’d go that far, but it is pretty darn good and way better than anything else up to this point in technology.
Sony seems to have increased the coverage of the floating optical lens, which gives better hand-held stabilization; the optically damped lens compensates for hand movements. However, there is more. When you switch the feature in via the menus you also have the option to improve things further by switching in even more settings. With the second option switched in at the same time you’ll notice that the image on the LCD screen zooms in ever so slightly (by aprox. 5% or 6% as per my best guess). It then uses these spare pixels outside the recorded frame area to allow the system’s software to cleverly hold the central pixels still. It then ‘trims’ the wobbly bits off the edges. A very simple idea, but one that works very effectively with virtually zero loss of detail or image quality. Ok, if I have to nit-pick, this system might lose you 5% or 6% of picture quality; on paper at least, as I could not see any notable difference whatsoever. Having tried the Active Steady Shot system, I found it to be more effective than the lens damped version alone, but this isn’t going to be putting Steadicam operators out of a job anytime soon. You still need to hold the camera steady because it will only compensate for minor nudges and knocks and general wavy hand-held work. Any more than that and it will still show up on in your footage. It’s designed as an aid, not a replacement for a body harness stabilising system; a good move by Sony in the right direction none-the-less and one that produces far superior results to any other system built into any other camcorder currently on the market.
AUDIO:
Being a classical pianist at heart and a very keen audiophile I’m kind of fussy about audio. In fact I prioritise audio over the images. To me quality sound is more beneficial than quality images. Your eyes are a lot more forgiving than your ears. The NX5 uses Linear PCM 2 channel, 16bit, 48kHz top quality audio recording as well as Dolby Digital 2 channel, 16bit, 48kHz. This is superior to the HDV audio standard, which uses the heavily compressed MPEG 1 Audio layer II and has a bitrate of just 384 Kbps, not ideal for postproduction sound editing such as EQ adjustments and the like. The NXCAM’s audio format of Linear PCM 16bit, 48kHz is the equivalent in quality to DAT, which is what professionals are accustomed to. Recording rock or classical concerts no longer require a dedicated DAT recorder; yeah!
The NX5 has the usual small built-in stereo mic, which is only good for picking up iffy ‘wild track’, but the included ECM-XM1 XLR mic is another story. Don’t underestimate this mic. Sometimes videographers are all too keen to rush out and buy a Sennheiser K6/ME66 combo as it has the reputation as being the weapon of choice for low-budget filmmakers. But before you do, try the included Sony ECM-XM1 mic, it’s a budget mic for sure, but it packs a punch for the money. Personally, I think you will have to spend more than £350 for any serious worthwhile upgrade. I always find with mics like this, and the aforementioned Sennheiser that I always have to do post work on the sound using Apple’s Logic or Soundtrack Pro anyway; with the ECM-XM1 it’s possible to tweak and modify the sound in post resulting in excellent sound; considering the cost.
GPS (GLOBAL POSSITIONING SYSTEM):
The NX5 is the first camcorder in its class to bring to market the all-new GPS (Global Positioning System). That’s right, I’m talking the same GPS as that you use in your cars Sat-Nav system. Why would you want this in a camcorder you might ask? I’m sure people will be discussing the endless possibilities on the forums, but to name a few, you could for example be shooting documentary footage all over Europe or the USA, or just plain England perhaps, with the exact geographical location being essential to the programme. With the NX5’s built-in GPS system you will have extra metadata within the file that you can simply convert into Google Earth KML format, then type into Google maps; this will find the exact location to within approximately 25 feet of where you are standing with the camcorder at the time you shot the clip. This feature can be switched on/off via the switch at the back of the camera. The GPS system records time, latitude and longitude in local time or UTC (universal time coordinated) time. This data is recorded directly to the AVCHD stream for approx. 0.5 seconds. Other great benefits to this all-new built-in GPS system include: Location reconnaissance, Estimate travel time after reconnaissance, Identify location easily for re-shoots, Natural History shoots - animal sightings, Police & Intelligence Gathering - reconnaissance etc. I feel like nicknaming the NX5 the ‘CSI Camcorder’.
SLS FRAME ACCUMULATION:
It also has Sony’s superb SLS (slow shutter) function, like that found on the higher end XDCAM HD camcorders. Frame accumulation is also known as Slow-Shutter, or SLS. SLS is a variable setting on the NX5 that lets you decide how many frames worth of light you want to accumulate before it is laid down to the disc. 1/4, 1/8, 1/15, 1/25 sec. can be accumulated using the SLS function. What effect will this have and what advantages are there? When shooting in low-light levels, SLS produces sharp and clear images with no picture noise whatsoever. For scenes with minimum movement this is a great alternative to switching in the gain. When shooting video with any sort of motion it provides a very artsy and out of this world ghostlike image that simply has to be seen to be believed. This is an amazing effect for music videos or haunting images. It’s quite hard to explain, and is easier to understand if you see it in action, but once you’ve used it and seen it you will find yourself looking for scenes or even writing scenes just for this effect. SLS at 1/4 produces the most dramatic effect. If you know anything about stills photography, think of a photo of a waterfall taken at ½ a second exposure from a tripod. The water has a neat soft blur to it. Well this effect is also produced with the SLS function when shooting waterfalls.
SOLID-STATE RECORDING:
We’ve established that the NX5 is a solid-state HD camcorder, but what are the options? The answer to that is “many”. You can record to a wide range of media. On the back of the NX5 you will find two card slots: A and B. In these slots you can put Sony’s own Memory Stick Pro Duo, Pro-HG Duo, Pro-HG Duo HX, any brand of SD/HC (Secure Digital High Definition) - class 4 or 6 are recommended, or even Sony’s dedicated 128GB flash drive (HXR-FMU128). This has been made specifically for the NX5, fitting flush to the side of the camera perfectly with no dangling FireWire cables either. This 128GB unit is about the size/weight of a compact mobile phone. It has two female sockets on the side, one to connect it to the camera, the other, a small USB receptacle, is to connect to a computer. Both are bus-powered so no battery is required.
If you chose to use SD/HC cards, I’d recommend the Class 6 type. They come in class 2, 4 or 6, which simply stands for MB/s per second transfer speed. Class 2 (i.e. 2 MB/s) simply can’t keep up with the camcorders data stream to the card. As class 6 are the same price as class 4, you might as well buy class 6 SD/HC cards as they will perform best and I’ve even heard that they don’t get warm as they have so much headroom in the data-stream capacity.
If you want full-on gigabyte capacity then Sony’s own HXR-FMU128 dedicated flash drive will give you a whopping 700 minutes in full FX 24Mbs 1920x1080 HD quality. The HXR-FMU128 costs £750 inc VAT.
A 32GB card on the other hand will give you 170 minutes recording time in full FX 24Mbs 1920x1080 HD quality and as there are two card slots on the NX5 two 32GB cards, this equates to 340 minutes of continuous recording time.
Cards are hot-swappable and when one card fills up, recording continues un-interrupted on the second card. However, once the second card is full you will need to change cards; the camera won’t go back to card slot A and start recording over your footage again. Remaining recording time is ever-present on the LCD screen and in the viewfinder.
There are some clever recording options on the NX5. For example, the camera has the capability of recording to both card and the Sony Flash Drive simultaneously; this means you can give your client the low cost memory cards at the end of the day’s shoot, then return to your edit suite with the flash drive to get on with your edit.
Another great option is that you can set the camera up to record to one or the other storage formats in numerous ways. For example, pressing the record button on the side grip will record to the card slots, while pressing the record button on the top handle will record to the flash drive: great! And you can set it up to record HD to one and SD to the other. I love it!
OTHER FEATURES:
The NX5 has a few other tricks up its sleeve. Unlike other similarly priced AVCHD camcorders the NX5 has an ‘Slow Motion’ feature; admittedly, it’s limited to 12 seconds maximum in any one take, but a slow-mo feature none-the-less. It shoots 200 fields per second with improved Smooth Slow Record (picture resolution is reduced during slow-mo recording). You can select 3, 6 or 12 seconds for slow-motion recording. During slow-motion recording the camera automatically sets the shutter speed to 1/215th of a second. The final footage is stretched 4 times. As for a Time-Lapse feature; there isn’t one, disappointingly, as this is something I personally use a lot.
There are the usual Sony Picture Profiles settings, which can be selected in the menus after pressing the ‘PICTURE PROFILE’ button on the side of the camera. There are six customizable settings with seven preset Gammas including STANDARD, CINEMA TONE1, CINEMA TONE2 etc. In each setting you can customize the GAMMA, BLACK GAMMA, KNEE, COLOUR MODE, COLOUR LEVEL, COLOUR PHASE, COLOUR DEPTH, WB SHIFT, DETAILS, and SKINTONE DETAIL. There are lots of options. If you are not happy with one of the six presets, simply go into any one and modify the various parameters; either way it should be easy to achieve the ‘look’ you want from the NX5.
The addition of a HD/SDI output can only mean that Sony is aiming the NX5 at professionals as well as prosumers. The HD/SDI outputs 4:2:2 colour space so if you wanted you could potentially attached a separate recording device like the Flash-Nano for example, and record 4:2:2 at 50Mbps variable bitrate for even more possibilities. The NX5 also has a HDMI output, which means you can buy any regular HDMI LCD monitor or TV and use that for low-cost monitoring options. Great!
The built-in LCD screen is nice and sharp and is certainly good enough for composition purposes and checking white-balance. It is ok for focusing with the aid of the ‘EXPANDED FOCUS’ option, which is a pre-set assign button (assign button 7) next to the zoom rocker on the side grip. The LCD is also a touch screen for making selections and changes. But don’t worry; if, like me, you don’t like getting greasy fingerprints all over the LCD, simply use the menu select buttons instead, which are neatly laid out under the LCD screen.
The HXR-NX5E is equipped with three built-in ND (Neutral Density) filters – 1/4, 1/16, 1/64 – which help to vary the depth of field with iris control as well as achieving perfect exposure in bright sunlight.
Now for a bad bit; a very bad bit. The NX5 cannot be set up to use one of its ‘Assign’ buttons to ‘last clip delete’ like you can on the EX1/3 and XDCAM HD cameras. This is a major pain in the butt as it really slows up productions, and the whole point of solid-state is to make things faster. People often think that solid-state only speeds things up in post. Not true. I shoot lots of corporate and SIV videos where the presenters are often not professionals and they often need several takes. With an EX1 I can set up one of the assign buttons to ‘delete last clip’. This means when the said presenter screws up his/her lines I can simply hit that button and the bad take is gone. Then when it comes to editing, I simply import ‘every’ clip, knowing that they are all good; no marking in/out points for hours on end like with tape. But as the NX5 does not do this, to delete a last clip you have to change ‘modes’ and go into the menus and mess about with several clicks of the menu wheel/button etc. This takes approximately 1 minute out of your production shooting time. If this has to be done 100 times during the course of a days shoot, well, you work out the maths: very slow and time-consuming and annoying. Sony seriously needs to fix this with a ‘fast’ firmware update.
PICTURE QUALITY:
Having now spent a good few weeks with the NX5 I can report my findings: they are everything that I expected. I did some brief filming in England, then some more in the USA. Overall, the image quality is pretty much identical to the tape-based Z5, only the NX5 shows ever so slightly better control over compression artifacts, which is due to the more advanced AVCHD codec I suspect. Moving shots over foliage also looked slightly smoother; but the difference is very small and you have to look really hard to see it.
With regular shooting i.e. on the streets, inside museums, in the park and in varying lighting conditions, the NX5 produces beautifully sharp (yet smooth) images with plenty of deep saturation in the colours. It’s a pleasing image and one that I am more than happy with at this price range. I did some brief filming of some Amateur Dramatics rehearsals in what can only be described as ‘just adequate’ lighting conditions hence I had to switch the gain in to 9db, even then I was working at full aperture. However, the final results were surprisingly smooth and virtually noise-free. Anyone looking to shoot event or wedding videography will be thrilled with the low-light capabilities of the NX5.
Shooting in low light with the gain switched in at 9db produced perfectly usable images with little noticeable noise. Even at 18db the noise was acceptable; not as smooth as 9db, but it could certainly be cut in with regular footage.
Overall the image quality produced by the NX5 is a ‘trifle’ better than the tape-based Z5, but it is not quite at EX series image quality; the latter producing nearly 1000 lines of resolution. The NX5 produces just over 800 lines: outstanding at this price.
Comparing the NX5 to the competition. It is way ahead of the Panasonic HMC151, which produces around 600 lines, and the JVC GY-HM 700, which produces around 700 lines. The NX5 also beats the Canon XL H1 in the resolution stakes, though only just. Image ‘feel’ is a personal thing. I personally like the ‘look’ of higher end Panasonic models such as the AJ-HPX3700 for example, as well as Sony’s own DigiBeta and HDCAM range. However, with more modestly priced cameras I have mixed feelings. Years ago I preferred the look of JVCs over Canons and Sonys, but these days Sony have really come into there own with their ‘PICTURE PROFILE’ settings. Sony has not only caught up with the competition with regard to picture ‘feel’, but they have overtaken. Considering the price of the NX5, it is incredible how you can fine-tune the ‘feel’ of the picture, and even the preset picture profiles are absolutely outstanding. Comparing the NX5 to the Panasonic HMC151 is chalk and cheese. I owned a 151 for a few years and I had some clips I shot from outside my house. I shot the same clips on the NX5. I know they were both shot at different times, but nonetheless, the difference is obvious. The said shot was a ‘wide’ landscape shot with a small cottage in the distance with some surrounding treas. On the 151 you cannot even see that the small window in the cottage has a large cross pattern as part of the frame. This cross is clear as daylight when viewing the NX5 footage. Also, the surrounding trees in the distance look like the entire trees were dabbed on with a thick paintbrush with the 151, whereas with the NX5 you can make out the leaves and individual branches. Overall, the 151 is soft, with no definition or detail at all. The NX5 on the other hand is sharp with plenty of punch and resolution.
Comparing the NX5 to the JVC GY-HM700 (though the JVC does have interchangeable lenses), the difference is not quite as obvious, but it is clear. The JVC suffers from lots of noise and serious compression artefacts. The JVC’s resolution is also notable with the same ‘landscape’ shot. The trees have no detail via the JVC and the foliage has way too much artefacting and ‘marching ants’. The NX5 is by no way free of artefacts, but it is way ahead of anything else at this price range.
There is also something else about the picture quality and ‘feel’ of the image of the NX5 that I can’t quite put my finger on. I just appears to have that extra “Je ne sais quoi”. Somehow, the images produced by the NX5 don’t appear to be quite so ‘digital’ in ‘look’, which I really prefer. Independent low-budget filmmakers will love this.
PLAYING BACK CLIPS DIRECT FROM CARDS:
For simple playback on many consumer devices and players (from computers and video game consoles like the Sony PS3 to Blu-ray players and flat panel displays with SD card slots), with AVCHD it is easier and quicker to view your footage on other devices without having to edit, burn, or plug your camcorder into the HDMI socket of your TV. Sony’s PS3 for example has a USB slot right on the front. Simply remove the card from your camcorder and pop it into a USB card reader, then into the PS3. Once the card is in the USB slot via USB/SD card reader on the PS3, you simply select ‘USB Slot’ from the PS3’s menu and hit play. You can then flick through clips and play them as you would a DVD. In this instance, the PS3 is acting like a regular solid-state playback deck. You can play back AVCHD footage off SD/HC cards or Memory Sticks on many other regular games consoles and domestic Blu-Ray players that have the SD or MS card slot.
EDITING:
I’m an Apple Final Cut Pro user, which means it is time to complain. Really complain. Apple’s Final Cut Pro does not support the NX5’s native AVCHD codec. FCP has to transcode the AVCHD codec into Apple’s own ProRres format, which takes a long time. Did I say a long time? Sorry, I meant to say a bloody long time. It’s long. Painfully long.
I took the opportunity to shoot my latest SIV (Special Interest Video) with two cameras; one NX5 and an EX3. Importing the AVCHD clips from the NX5 involves using FCPs Log & Transfer window. I had 76 minutes of clips, 30 clips in total ranging from 20 seconds to 14 minutes and everything in-between. Well, 6 hours later FCP was still importing clip 11; Hmm. It took over 12 hours to import just 76 minutes worth of clips. That’s about 10 times slower than real time tape. 20 years ago I could have got 8mm Cine Film sent off and processed and delivered back to me via courier bike in less time than that. This is a backward step, a very backward one indeed - and it is for this reason that I personally would not buy an NX5. It’s not Sony’s fault of course - this is an Apple issue, but I edit with Apple, which means the NX5 is out of the question for me as I refuse to pay ‘Adobe’ prices for the Mac version of Premiere Pro, which does support AVCHD on the Mac. Sony’s Vegas and Canopos Edius also supports AVCHD natively, but as I don’t have any of these Windows-based editors I could not comment on how long importing would take.
FINAL VERDICT:
I have to admit I’m quite enthused by this new NXCAM hand-held camcorder: it’s the hand-held camcorder that I’ve been waiting for! (Apple FCP update support for AVCHD permitting) Reasonably priced at £3,450 inc., with low-cost media cards, and outstanding picture quality for the money. It’s a real world-beater!
On a final note, the NX5 is not a replacement for the HDV tape-based Z5, it’s an entirely new system (the NXCAM System) designed to fit into a solid-state marketplace. There are still thousands of videographers out there who are committed to tape for various reasons and Sony fully intend to support the HDV tape-based system for as long as there is a market for it, as well as augmenting it with the new Hybrid system for recording to tape and/or CompactFlash. Having said that, I personally think, wait, let me rephrase, I personally ‘know’ that tape is dead. Once you’ve worked in a tapeless environment you’ll never turn back.
I believe that this is the best camcorder available for under £4,000. Nothing else compares. Sony has produced the perfect balance with the NX5. It has a superb G-lens, great ClearVid CMOS Exmor sensors, and the cracking AVCHD codec. These three ingredients all add up to one amazing piece of kit. The quality of the NX5’s images suggest a more expensive camcorder. Add to that the multitude of recording formats and options and the low-cost solid-state recording media and we have a real world-beater for just £3,500 inc.
I’d like to give the cute little NX5 top marks, but the lack of ‘last clip delete’ as an assignable button and poor native support for AVCHD from the likes of Apple (although this is no really fault of Sony’s) I’ll give the NX5 8 out of 10.
©2010 Nigel Cooper
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