C’mon! Why are we 180 degrees out of phase?

Why are we 180 degrees out of phase? I’m not talking about subcarrier phase, hue, or even audio phase. I’m talking about the 180-degree phase difference between the way professional videographers and die-hard still photographers perceive the new extremely high resolution hybrid cameras, many of which are DSLRs. When I say hybrid, I mean a camera that is equally appropriate for shooting both still photos and HD video (at least when used with a tripod or shoulder harness and related accessories). Following are the reasons why many videographers are ecstatic with the footage shot with these new cameras from a growing number of manufacturers, while many die-hard still photographers are often experiencing goose bumps.

Canon HV40: a great inexpensive feeder deck for native Sony 3G HDV recordings

Users of Sony’s professional 3G HDV camcorders (including the HVR-S270, HVR-Z5, and HVR-Z7) and editors who receive footage from them may now consider purchasing a Canon HV40 camcorder to use as an inexpensive deck to feed footage to their NLE. The reason is that the Canon HV40 is quite inexpensive, is playback-compatible with the special native progressive modes available in the Sony 3G HDV camcorders, and even offers HDMI output. Although the Canon HV40 is not shaped like a desktop deck, it functions as such, and in many cases can save you over US$1200 over the lowest-cost compatible deck from Sony, which doesn’t even offer an HDMI output. Many of our readers read my recent articles which explained how first Sony USA and then Sony Latin America began to offer a liberation upgrade, which adds PAL, 25p and 50i to the cameras originally sold as 60Hz-only models. Well here are all of the modes, as they correspond with the Canon HV40 models.

Lumix GH1 camera: surprising responses from Panasonic

As I anxiously await the Lumix GH1 review unit, I want to keep all of you ProVideo Coalition readers up to date with the surprising responses I just received from Panasonic’s public relations department. A few weeks ago, I asked Panasonic several detailed questions which were not covered in any of the published material. I know many videographers who are quite curious about this US$1499 camera with humongous sensor and interchangeable Micro Four Thirds lens mount. The kit lens [14-140mm (35mm camera equivalent: 28-280mm)] is the one Panasonic recommends for video, since it is the silent one, with the very fast autofocus. Although Canon recently satisfied their 5D Mark II owners with a firmware upgrade to allow for manual ISO, aperture, and shutter speed, the 5D Mark II is still stuck at 29.97p (“30p”), with no flexibility to use the variety of extreme framerates that the Panasonic Lumix GH1 offers, i.e. 23.976p (“24p”) and 59.94p (“60p”)... or 25p and 50p in the European version. That’s why many people are still quite intrigued with the GH1, given its framerate flexibility and attractive price. So here come my questions and Panasonic’s surprising responses, which arrived today.

Sony Latin America also upgrades 3G HDV camcorders to universal, for a small fee

On February 10th, 2009, I informed our readers that Sony USA was offering upgrades to world-class compatibility on their 3G HDV camcorders. As explained in that first article, the Sony upgrade activates the otherwise dormant modes of these cameras, i.e. 576i PAL, HD 25p, and HD 50i modes, on top of the original “24p” (23.976p), “30p” (29.97p) and “60i” (59.94i) modes. Now I am happy to report that Sony BPLA (Sony Broadcast Professional Latin America) is offering the same upgrade on the same cameras in their region.

Sony adds new entry-level model to family of HD Pan-Tilt-Zoom cameras

At NAB 2009, Sony is introducing an entry-level model to its line of high-definition compact pan-tilt-zoom cameras. According to Sony, the new BRC-Z330 remote control camera is designed for an array of remote acquisition applications, such as television production for recording programs, and for use as a weather or traffic camera. Compact and lightweight, the new camera maintains the design elements of its predecessors but uses a specially designed read-out from its CMOS imaging technology to significantly shorten image delays.

Panasonic Lumix DMC-GH1: a first look from a videographer’s perspective

When I first heard about the Panasonic Lumix GH1 from my friend Steve (who saw a prototype and actually got to shoot with it at PMA 2009 in Las Vegas), I didn’t think too much about it. I incorrectly assumed that the GH1 was yet one more of those digital SLR photographic cameras that could also shoot HD video, although with more limitations than desired. But after investigating further, I realized that that first assumption was way off. The GH1 represents several steps forward in the ongoing development of truly hybrid photographic/video cameras, since it removes many of the limitations that other D-SLRs have imposed when used to shoot HD video.

Sony upgrades 3G HDV camcorders to universal, for a small fee

Readers of my recent articles in ProVideo Coalition, past articles in Latin American magazines, and those who have attended my seminars are aware of the many 25p production advantages over “24p” (23.976p) production, especially when the video is shot on HDV and the workflow is to take advantage of HDMI or HD-SDI capture. Up until now, producers in the USA (and other 60Hz American countries) who have chosen progressive Sony HDV cameras and appreciate the advantages of 25p had no choice but to go through “unofficial channels” to purchase the 25p/50Hz version of the camera. The ones I know are all very happy with the choice and with the workflow. However, they aren’t so happy that after spending so much extra for the camera and optional worldwide warranty, they still don’t have the flexibility of the 60Hz (59.94Hz) modes, in order to be able to shoot at “30p” (29.97p) or even “60i” (59.94i) for a slow-motion shot. Although most of them prefer 25p for their own productions, some of them are also often subcontracted to “shoot only” for other producers who aren’t so informed about 25p, and often request video to be shot at “30p” or “60i”. Fortunately, Sony USA has now recognized the need for a universal version of their 3G (3rd-generation) of HDV camcorders, which now encompass the HVR-S270, HVR-Z5 and HVR-Z7. See details about Sony’s upgrade program later in this article.

HDMI capture in live multi-camera production

Thanks to the new HDMI input interfaces like Blackmagic’s Intensity and Intensity Pro, it is feasible to connect certain HD cameras with HDMI output live to a computer, and even dissolve between them without genlock.

Just install two Intensity (US$249 x 2) or Intensity Pro (US$349 x 2) cards into a MacPro tower computer, with Blackmagic’s included On-Air software. Compatible cameras include both HDV cameras and the new AVCHD cameras with HDMI output. This way (for live-to-disk 2-camera production), one can not only capture an “uncompressed” signal via HDMI, but also a “never-yet-compressed” signal. The only important limitation of the Blackmagic On-Air system is that you can connect a maximum of two cameras.

Why capture HDV via HDMI?

For many reasons explained in my recent article, it makes a lot of sense to capture your HDV footage directly to an editing i-frame códec like ProRes422. One of the best way to do that nowadays from HDV is via HDMI. Editing directly from ProRes422 files (as opposed to hybrid editing or native editing, as explained in the prior article,) offers you visually frame-accurate editing, which is critical whenever your project includes:

• Critical multilayer editing
• Independently recorded 48 KHz audio which needs to be lip-synced

If you try to do either of those two things from your raw long-GOP HDV footage directly, you’ll find that what you see is rarely what you eventually get. This has nothing to do with choosing to shoot in HDV or not; but it has everything to do with how to post-produce your HDV footage, especially when your production will include either of those two demanding facets mentioned above. (If your production includes neither of those facets, and you are very short on space, then hybrid editing or native editing would work, but you would miss out on some of the other advantages you’re about to discover.)



Advantages of capturing via HDMI directly (or via HD-SDI) as opposed to other methods include:

• Avoiding unnecessary D>A (digital>analog) and A>D (analog>digital) conversions by keeping your HD signal as digital (as opposed to capturing via component analog). Click here to see a breathtaking comparison video, courtesy of Convergent Design and JVC Italy. The same HDV 720p25 footage was captured from the same HDV tape both via component analog HD and via HDMI>HD-SDI, and compared. This video is in 1280x720 in WMV. If you are on a Mac and have not done so yet, please download Flip4Mac’s free WMV component for QuickTime here, which will allow you to see WMV in your QuickTime Player.
• Taking advantage of the HDV deck’s correction circuit (which is unfortunately bypassed via IEEE-1394).
• You can get a more universal HDV player (see details later in the next article, Universal HDV deck, coming January 8th).
• You can save time and space (as opposed to capturing via 1394 and converting later)
• You retain Log & Capture, deck control, original timecode, and (as a result) recapture capability (as opposed to using FCP’s HDV-ProRes422 capture preset via 1394, where you sadly lose all of these four features)

Revisiting HDV’s Virtues

Among my clients and friends who are video professionals, many of those who produce commercials, corporate, and music videos have already embraced tapeless acquisition with such cameras as JVC’s high definition Everio, Panasonic’s AG-HMC150/151, and Sony’s EX1 & EX3. However, those who shoot events (Bar Mitzvahs, Quinces/Sixteen Parties, Weddings) —and some of those who shoot documentaries— are relentless in defending their need to shoot on tape. They cite the following HDV advantages over tapeless acquisition:

• There is always an original tape for future use.
• The original HDV tape is the permanent archive.
• The original HDV tape is very inexpensive.
• Although they have to capture in real time before editing, they don’t have to worry about the time or expense of other types of long-term archival methods required with tapeless acquisition.

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