HDV/Sony: Here Ya Go

Spot|DSE wrote on 9/7/2004, 6:17 AM
SONY UNVEILS WORLD'S FIRST HDV 1080i CONSUMER CAMCORDER

New Handycam Model Brings High-Definition Quality to Personal Content
SAN DIEGO, Sept. 6, 2004 — Sony, the worldwide camcorder market leader, today took another leap forward with the introduction of the world's first HDV 1080i camcorder. The HDR-FX1 Handycam® camcorder records and plays back high definition video with 1080 interlaced lines of resolution - the highest resolution (1440 pixels x 1080 lines) of any consumer camcorder available.

"With U.S. sales of HDTV sets exploding, along with the availability of high-definition programming, the expectation of having personal content in HD is growing rapidly," said Linda Vuolo, director for camcorder products for Sony Electronics. "The introduction of the HDV-FX1 has been timed and targeted to meet this desire."

The camcorder's best-in-class video resolution is enhanced by Sony's new three-chip, one-megapixel Super HAD™ CCDs. The new 1080i HD CCDs have several improvements, including an on-chip micro-lens on top of the CCD sensor that increases the light focusing rate for focusing on the fly. There is also a newly developed 16:9 aspect mode for recording in widescreen. By giving each lens its own megapixel imager, the camcorder captures the intense detail and color that expert videographers and HD lovers appreciate.

Each of the camcorder's three 1/3-inch, 16:9 CCDs utilize Carl Zeiss® Vario-Sonnar® T* optics, minimizing warping while maximizing sharpness and contrast.

All of this imaging power -- together with the 14-bit A/D converter that processes four times more digital information than converters used in traditional television cameras -- produces sharper, richer and more true-to-life images.

HD Quality in a Small Package

Sony developed an advanced HD codec engine for the new camcorder, which efficiently compresses massive digital data while maintaining optimal HD quality. Engineered to reduce energy consumption, this powerful digital signal processor fits perfectly inside the camcorder's streamlined body.


The HDR-FX1 camcorder employs the same MPEG2 compression scheme that is used for digital broadcasts and for DVD discs, so it can record on easy-to-find DV tapes.

Control of Sound and Vision

To meet the demands of the experienced user, the camcorder has a shooting range from 32.5mm to 390mm, a 12x optical zoom and a multitude of zoom control mechanisms, including a non-perpetual zoom ring that allows for professional-like control. Users also have the option to switch between the zoom ring, the two zoom levers as well as a variable zoom control on the handle for greater shooting flexibility.

To capture even the smallest detail with clarity, the new HDR-FX1 model offers increased focusing control with expanded focus and peaking functions. In the expanded focus mode, the camera's LCD image is magnified up to four times its original size without any loss of resolution. The peaking function emphasizes the outline of objects creating clear contrast and clarity in a scene.

The 3.5" SwivelScreen™ hybrid LCD offers 250,000 pixels -- the highest resolution of any consumer camcorder LCD -- for accurate viewing under bright lighting conditions. The LCD is conveniently located towards the front of the unit and is on the same eyelevel as the color viewfinder with the same pixel resolution.

The camcorder also features a wide-range stereo microphone for superior audio quality. Because of its unique body design and well-placed microphone, wind noise is minimized so videographers can capture the sound they want, not the noise they don't. Additionally, sound adjustments that typically are made via a menu are now adjustable through an external audio level switch.

Custom Features for a Film-Like Feel and Smooth Transitions

With the HDR-FX1 Handycam camcorder, the budding hobbyist as well as the seasoned videographer can make their video look like a professionally-shot film. The Cinematone Gamma™ and Cineframe™ functions enable high quality picture processing to create video with the warmth, softness and richness similar to a big screen movie.

Smooth, seamless, shot transitions are achieved using the Shot Transition™ function. With settings to control focus, zoom, iris, gain, shutter and white balance, focus can gradually be shifted from the front of the screen to a deeper subject, or vice versa, enabling an effortless transition in depth of field.

For creativity and control, the HDR-FX1 camcorder allows users to define their own default settings through the Picture Profile™ function. This function offers six different profiles that can be customized and taken advantage of, depending on the scene. Scenes may include a setting for filming sunsets, another for filming people, and another for recording in black and white. And for ultimate control, the iris, gain, white balance, shutter speed and focus can also be adjusted manually.

Additional features include:
InfoLithium® Battery with AccuPower™ System - The battery can be charged at any time as the rechargeable Lithium-Ion batteries minimize life shortening "memory effect." Sony's exclusive AccuPower meter conveniently indicates the remaining minutes of battery life on the LCD or viewfinder display, allowing users to keep an accurate and constant reading of remaining battery power.

i.LINK® Digital Video Interface - The i.LINK (IEEE 1394) DV interface is a high speed bi-directional digital video/audio communication between two devices equipped with a compatible i.LINK DV interface, including camcorders, digital VTRs and PCs.

The HDR-FX1 camcorder will be available in November for about $3,700.

Media Optimized for HDV Recordings

To complement the high-definition recording capabilities of the new HDR-FX1 camcorder, Sony is also introducing new HD DVC videotape, optimized to meet the demanding requirements of 1080i high-definition recording and playback.

Sony HD DVC media utilizes a new, second-generation Advanced Metal Evaporated (AME II) technology, as well as improved quality control processes. The result is an improved drop-out rate, which translates into significantly higher reliability and audio/video stability, as well as a lower carrier-to-noise ratio for lower error rates, greater output and less noise during recording.

Sony HD DVC tape will be offered in the 63-minute professional tape length, which allows three minutes for recording tests. The tape will be available next month for about $18 per cassette.

Comments

farss wrote on 9/7/2004, 6:22 AM
Sorry SPOT, Peter beat ya to it!
Spot|DSE wrote on 9/7/2004, 6:28 AM
Yeah, I just noticed...Oh well...Was 6:30 a.m. here when I opened my mail. You guys are a day ahead. Cheaters :-)
I was just going to delete it, but you'd already replied... You Aussies are fast dudes!
Bill Ravens wrote on 9/7/2004, 8:05 AM
R U guys convinced (already) that this camera is viable?
It seems to me that everybody jumps off a cliff whenever a new product is announced, without actually knowing what's coming. I don't think this camera is the holy grail, at least it doesn't sound like it from the press release. The "Pro" version might be, but again, I tend to doubt it.

There's really so, so much more to consider, such as NLE, computer rqmts for processing, data storage and I/O, not to mention what to monitor the edits on, before I jump on the HD bandwagon.
Spot|DSE wrote on 9/7/2004, 8:08 AM
I'm not convinced of anything. I *AM* convinced that HDV will play a big part in the future of delivery. Regarding this and any other HDV cam, I'm not at all convinced. The 2 HDV cams I've had my hands on felt like toys. I've only seen this one through glass like everyone else at NAB. But with this morning's press release, and Ulead's press release about support for the cam...thought I should share.
Trichome wrote on 9/7/2004, 8:59 AM
you would thnk that Sony would offer native 24P on an item like this... go figure.
John_Cline wrote on 9/7/2004, 9:22 AM
I just don't understand the love affair with 24p. I can imagine an instance or two where I might be interested in maybe 30p as an effect, but 24p just doesn't have enough temporal resolution to be completely useful and it never has.

Film stock is expensive and 24fps was chosen as the mininum frame rate that they could get away with and still have the illusion of relatively smooth motion. It's 2004 guys, give me video with the gamma and color curves of film at about 60p and I'll be happy.

I'm curious what the new Cinematone Gamma™ and Cineframe™ in the HDV-FX1 are about specifically.

John
Spot|DSE wrote on 9/7/2004, 9:44 AM
24p isn't part of the HDV spec. That's not to say no one will do it, just like 24P isn't part of the DV spec. But it's a relevant point.
wcoxe1 wrote on 9/7/2004, 12:38 PM
I realize that you are "Supposed" to get more if you go to the "Pro" version over the consumer version, but isn't doubling the price quite a bit high?

The more I think about it, the more wonder if there isn't going to be something, real soon now, in between the $3700 and $7000 versions.

I think I'll wait a while and see what develops.
VOGuy wrote on 9/7/2004, 2:05 PM
Hi John.

There is more to the 24p debate than the cost of film.

1) We've become acustomed to the idea that subjects shot at 24 are "presentations", They are a step removed from reality - likely to be fiction, with lots of thought put into editing and storytelling. We expect high FPS video to be "Live" - the picture is more of a "window" - showing us reality - or something close to it.

2) There is something to the concept that when we see 24 fps material, we have some awareness that we are seeing a series of still images. Some studies have shown that 24 fps material provides something that allows people to remember what they saw better than 60fps - almost as though we remember each frame as an individual still image that gets "glued" into our brains. However, when we view videoo at 60 fps, we remember not the pictures, but the individual objects contained within the video images, and how they move.

Can't remember where I read this stuff - it was years ago, but even then, fascinating.

Travis
www.Announcing.biz
John_Cline wrote on 9/7/2004, 2:32 PM
Travis,

I agree about the "removed from reality" quality of 24p, but it is an effect and not an effect that is appropriate in all situations. However, it seems like a lot of people think that 24p is somehow "better" than 60i for everything and it is clearly not.

Your second point is interesting, I'll have to research that one a bit more.

John
farss wrote on 9/7/2004, 3:23 PM
Tests done many years ago showed that at 60 fps film achieved a super reality. 60 fps was common for fair ground 'scare the pants off ya' stuff but as a cinema medium. apart from the cost most considered it too 'real'. It's very difficult to actually test this now, we are so conditioned to the look of 24 fps.
I'm not supporting the argument that 24 fps is better, I'd go for 60 or even 100 fps any day but the reality is otherwise. What has been talked about a bit is varibale fps projection, that is a very interesting idea.

Bob
bowman01 wrote on 9/7/2004, 6:53 PM
If the pro version comes with 1080i and 720p, xlr inputs, good low light, focus assist in the view finder, i'm in. they would have to improve build quality to justify price difference, and if they do its gonna be quite unbelievable.
Stonefield wrote on 9/7/2004, 7:31 PM
I still think VHS is the wave of the future.....I just love the look of all that low rez grain.
John_Cline wrote on 9/7/2004, 8:22 PM
24p VHS, now that's the ticket!!

John
wcoxe1 wrote on 9/8/2004, 6:21 AM
Actually, the Keystone Cops had it right, with thir 18 fps. That lovely flicker and jerky motion remind me of reality. Just a tad better than 24fps.
BrianStanding wrote on 9/8/2004, 7:52 AM
I've also heard a theory that 24fps more closely mimics how we see things in dreams. Our brain accepts such images as familiar, and is therefore more willing to suspend belief. With other frame rates, we perceive the image as more artificial and are more critical.

Walter Murch talks also theorizes that this correlation to dreaming is why people willingly accept cuts that would be horribly disorienting if they happened in real life.
michael_morlan wrote on 9/8/2004, 9:27 AM
We don't ever watch a feature film in 24p. We watch it in the theater at 48p. Each 24p frame is displayed twice with a butterfly shutter spinning in the frame. If you watch a feature film on NTSC video, you are seeing it at 60i with a 2:3 pulldown. If you watch it in progressive on a DLP projector, you are seeing each image twice with the 2x spinning color wheel.

So, the 24p debate is moot. NOTHING looks good at 24p. If you ever look through a running film camera or watched a 24p video playback progressively, you would know this. It's far too strobescopic since our persistence of vision (typically around 40fps) hasn't kicked in yet.

The ONLY reason to consider shooting video at 24p is if you KNOW you are going to transform to film for a theatrical release. Otherwise, it is of little use. If you want to shoot progressive for an ultimate release on video, shoot 30p. It's just as satisfying spatially without the heavy strobing of a century-old standard.

24p is dead! Long live 24p!
NickHope wrote on 9/8/2004, 10:29 AM
HDTV unifies us all, right? No more PAL / NTSC issues?? Will I have to choose between a PAL or NTSC version of this camera?
wcoxe1 wrote on 9/8/2004, 1:08 PM
I wouldn't bet on the "Unification" of Pal and NTSC. There are still SEVERE differences.

Yes, Sony stated in one announcement that there would be both NTSC and Pal version. That is where the differences start.
rique wrote on 9/8/2004, 1:55 PM
Yes, Sony stated in one announcement that there would be both NTSC and Pal version. That is where the differences start.

Isn't that because it's also a standard MiniDV cam?
winrockpost wrote on 9/8/2004, 3:22 PM
seems strange the price is less than a pd170 hmmmm
farss wrote on 9/8/2004, 3:35 PM
Well there's that AND it seems there's different frame rates for HD in PAL and NTSC countries. Must say I'm not 100% certain about this. Would like to hear from anyone who knows for certain.

Bob.
bowman01 wrote on 9/8/2004, 8:30 PM
I think it's less because it's a "Handycam" model, the transition effects etc would indicate its aimed entirely at consumers. HD is so nice and delectable, if they don't release a pro version within a year, i may have to eat this camera.
BarryGreen wrote on 9/9/2004, 12:17 AM
<<We don't ever watch a feature film in 24p. We watch it in the theater at 48p.>>

Not at all true. You see 24 distinct frames per second. 24P. Not 48.

It is true that projectors have two- or three-bladed shutters, but that just means that the same frame is flashed on the screen two or three times, to equalize out the flicker that comes from when the film gets advanced. But you can't call it 48P, because there aren't 48 distinct images. There are 24. In the theater, you're watching 24 individual, distinct frames per second.