JVC GY-HM70 shoulder camera

The new JVC GY-HM70 AVCHD camera should be of interest to many of our readers, as our now-ancient (October 2010) post on AVCHD shoulder mounted camcorders is our most popular ever…

The GY-HM70 will ship in May, and has a list price of $1,995 (apparently the UK street price is likely to be under £1,200), and some nice features, even if it doesn’t have XLR audio input.

It is designed principally for event production, and to make it useful for covering long-form events, such as weddings or conferences, it has hot-swappable batteries (pictured below - a first in this price bracket), so you can keep shooting continuously, without interruption. 

Being shoulder-mounted, it should also be a lot more comfortable for long-term use than more compact cameras (although it isn’t particularly big), and is reasonably light, weighing about 3kg (6.7lb) with one battery attached.

It can record 1920x1080 HD at up to 50p or 60p in AVCHD Progressive, to dual SDHC/SDXC memory cards (Class 4/6/10) at up to 28Mbps. It will also shoot at 250 frames per second at 720x576 (for 50Hz/Pal production) or 300fps at 720x480 (for 60Hz/NTSC countries), and offers 50/60i shooting or SD at lower bit rates. 

Interval recording in steps from one second up to 80 seconds is also an option, as are still images at up to 4000x3000-pixel resolution. Stills in 12Megapixel can be shot at the same time as video or stills can be shot at 2Megapixel resolution.

The camera should also be pretty useful in low light. It uses JVC's Super LoLux technology to enhance image quality and offer more accurate colour capture indoors or in dark situations (there is a minimum illumination of 1lux, which is certainly good, but hardly exceptional).

The F1.2-F5.6 GT Lens has a 10x optical zoom, plus a 16x “dynamic zoom” that only works with the optical image stabilisation turned off and makes use of the overabundance of pixels on the sensor by reducing from 5.4Mpixels to 2.07Mpixels (there is also a 200x digital zoom). 

The lens delivers a not-particularly wide wide-angle of 29.5mm – to 476mm if dynamic zoom used (35mm-equivalent), and was developed specifically for the 1/2.3-inch 12Megapixel back-illuminated CMOS sensor (apparently the same sensor used in JVC’s GY-HMQ10 small 4K handheld camcorder), which is claimed to deliver “high resolution, high sensitivity, and excellent colour reproduction.”

The camera features manual or auto focus (with focus assist), manual iris and shutter, manual or automatic white balance, and optical image stabilization.

There is a 3-inch 16:9 230K-pixel Touch Screen LCD display plus a 0.24-inch LCOS 16:9 260K-pixel colour viewfinder; an internal stereo microphone (plus a mini-jack microphone input); remote-control input; while outputs include an HDMI Mini connector and RCA video and audio ports. It comes with an AC adapter (AP-V20); battery pack (BN-VF823); composite/audio cable (RCA x 3) and USB cable.

http://pro.jvc.com

By David Fox

Sony NEX-EA50 NXCAM camcorder

Sony’s new NEX-EA50 answers a demand that many camcorder users have for a large-sensor, low(ish)-cost camcorder you can use on your shoulder without having to buy some sort of rig. Certainly, our most popular post ever is one from two years ago on Shoulder-mounted AVCHD cameras – which is exactly what this is…

As the newest addition to the NXCAM range, the NEX-EA50 has a new form factor that should be more comfortable to hold however you like to shoot.

When its shoulder pad is extended, the camcorder can be balanced on the shoulder for extra stability, making it a lot easier to hold for long shooting times. When the shoulder pad is in its original position, the camcorder is compact enough for any style of handheld use.

Many of its specifications seem similar to the NEX-FS100, but it doesn't appear to use the same sensor. The camcorder, due to ship in October, features a large format sensor, E-mount lens system, shooting Full HD movies (and high-quality still photos), but is promised to meet a “more affordable price point than ever before” - about £2,700 - Creative Video has it for £2,499 + VAT, which is less than €3,200/$4,000.

The Exmor APS-C/Super35mm-sized HD CMOS sensor is claimed to offer low noise and high sensitivity in low light conditions. It also enables 1080 progressive and interlace recording with 50/60Hz selection at 50p/25p/50i or 60p/30p/24p/60i. It records AVCHD 4:2:0 at up to 28Mbps. It can also record standard definition MPEG-2.

“This all-in-one camcorder brings a new level of creativity to a wider range of professional users than ever before,” said Bill Drummond, Sony Europe. “It combines affordability and high performance with a range of versatile, professional features for many applications, including event production, budget movie making and corporate production.”

It will capture 16.1 megapixel still pictures and has a built-in mechanical shutter so it can deliver high shutter speeds while capturing stills.

The camera can be used with any Sony E-mount lens, which enables auto focus, auto exposure and stabilisation during shooting. It has a short flange back distance, so it is possible to attach Sony A-mount lenses via the LA-EA2 lens mount adapter, or a wide range of other manufacturer’s lenses using third-party adapters.

The NEX-EA50 comes with the newly developed Power Zoom E-mount lens E PZ 18-200mm F3.5-6.3 OSS SELP18200. The 11x zoom includes auto focus, continuous variable iris and Optical Steady Shot image stabilisation with Active Mode, which should give a more stable shot.

The lens is electronically controlled via either the zoom rocker lever on the camcorder grip or the top handle, offering either a constant zoom speed or smooth, slow zoom.

Other camera functions include: two-channel XLR audio (an ECM-XM1 Shotgun microphone is included with the NEX-EA50H); Linear PCM audio; time code; user bit; built-in GPS; six assignable buttons; HDMI Type A, component (3xRCA) and A/V (RCA) outputs; 3.5-inch 1920x480 LCD; and Face Detection autofocus.

For recording, Sony’s HXR-FMU128 (128GB) flash memory unit (which costs about £600/€750/$1000) can dock directly to the camcorder for simultaneous backup recording. The camcorder is also compatible with Sony’s new Mirroring Memory Stick (MS-PX64/32/16), the world’s first memory card with mirroring. This enables the card to deliver higher reliability and data security through a dual recording (mirroring) function. The PX Series cards will be available from September, in 16GB, 32GB and 64GB versions. It can also record to SD cards.

By David Fox

£1m camera thieves get Creative

Our largest local broadcast reseller, CVP (Creative Video) had about £1million-worth of camcorders, lenses and other broadcast stuff stolen from its west London warehouse last weekend.

These included lots of Canon XF305, XF300, EOS C300, XF105 and XF100 camcorders, and Sony F3, PDW-700, EX1R, EX3, NEX-FS100, Z5, Z7 and NX5 models, amounting to about 120 cameras in all, as well as viewfinders for higher-end cameras, and lots of other stuff. In response, CVP has set up an online Stolen Equipment Register.

I’ve written a full report for TVBEurope magazine.

By David Fox

Free seminars - Join us at BVE 2011

If you are visiting BVE 2011 or The Production Show in London this week (Earl's Court 2 – 15-17 February), please come and say hello.

We'll be delivering our usual seminar (totally revised), Production on a budget, in the Production Theatre every morning at 10am – handy if you want to know which cameras you should have a look at later in the exhibition. We'll be talking about how to choose a camera for different budgets and for different types of production, and offering some tips on how to get the best from the technology. We will be putting up a pdf of the presentation after the first session on our main UrbanFox.tv website.

Also, on Tuesday, Christina will be telling How to survive as a freelancer (at 3pm in the Producer's Theatre – not the same place as our morning seminars), with advice on how to address such important aspects as getting paid, making a name for yourselves, and coping with taxes.

You won't need to pick up tickets for either session – just come along. Previously we've had lots of people standing at the back, or sitting on the floor, so it's probably worth coming early if you're interested (the picture above shows those who came early enough to get seats last year...).

There are many other worthwhile sessions available, free, in a load of seminar areas, although some will require you to queue up for tickets from the Seminar Registration desk (afternoon tickets can't be collected until after 12.30).

At the Production Theatre there will be sessions on multi-camera 3D, 3D commercials, file-based workflows, production management, shooting with a DSLR, and (at the end of each day) How to avoid becoming one of the 95% struggling Digital Film Makers from Den Lennie of F-Stop Academy.

At the Producer's Theatre there will be more on 3D (but aimed at producers), visual effects, getting programmes commissioned, casting, data workflow, drama production, and women in TV.

Also in the Production Show area is the Arri Production Skills Centre (which requires tickets), with sessions on the Arri Alexa, using filters, and lots on lighting, including Lighting on the Run and Energy Efficient Studio Lighting Techniques from the always enlightening Jonathan Harrison.

There is an even more extensive seminar programme at Broadcast Video Expo itself.

The 3D Revolution Programme (tickets required) includes sessions from such notable names as Phil Streather, CEO, Principal Large Format, Steve Schklair, CEO, 3ality Digital, and Chris Johns, Chief Engineer, BSkyB. There will be case studies, sessions on all aspects of 3D production and presentation, and a look at the future of 3D.

The Total Delivery Theatre (no tickets required) will look at IPTV, HTML5, Flash, mobile and online video. It will include a session on Thursday (13.30) by Rick Young, of Mac Video, on Broadcasting to the iPhone and iPad.

Broadcast Meets IT (tickets required) is aimed mainly at broadcasters, with many interesting and expert speakers on such topics as workflows, standards, cloud services, networking and infrastructure, Super-Hi Vision (Ultra HD), and several case studies.

The Audio Room (tickets required) will host a Radio Day on Tuesday, and over the following two days will look at such issues as sound recording, loudness measurement, workflows, wireless microphones, monitoring, audio over IP, and more.

The Post Production Theatre (tickets required), will have lots on 3D post, workflows, codecs, and where the industry is going (on Tuesday and Wednesday). On Thursday it will be devoted to Avid.

Sony's workshops will deal with: 3D Live Production; 35mm World; OLED Monitoring Technology; XDCAM File Based Acquisition; and Professional Audio.

Blackmagic Design will host DaVinci Resolve (colour grading) workshops, while Adobe's seminars will deal with all aspects of its CS5 suite (Premiere, Photoshop, After Effects, etc.).

BeachTek HD DSLR audio adapters

BeachTek now has two audio boxes for HD DSLRs that take XLR inputs, allow you to adjust levels, and route the result to the DSLR's mini-jack input.

The BeachTek DXA-5DA (pictured top) is a passive adapter, which doesn't have phantom power – you would use it with self-powered condenser microphones or wireless receivers, or as an interface to an audio mixer.

It has two inputs, a level meter, and a "unique AGC Disable feature controls the wild swings of the Auto Gain Control that plague most cameras," which reduces noise during quiet moments of recording so that you can record cleaner audio. It fits under the camera and can also be mounted to a tripod. It is powered by one 9-volt battery and costs about £290.

There is also the BeachTek DXA-SLR, with phantom power. It is similar, but without the little LCD meter display. It has Good/Peak signal indicators that show the ideal input levels at a glance, plus the AGC Disable feature. You can also monitor the playback audio from the camera. It costs about £350.

Also potentially useful is BeachTek's MultiMount 5D ($89), which provides four horizontal cold shoes and one vertical shoe for mounting microphones, wireless receiver, lights, etc. on your DSLR or camcorder. It is made of polycarbonate with metal shoe inserts and has threaded 1/4-inch/20 holes on all shoes for added flexibility. It also has a rubber mounting foot with locking plate for mechanical shock isolation, but it may not be advisable for use with heavier devices, which is why it also comes with an extra foot that provides a firmer mount.

By David Fox

Rycote boom poles go graphite

Rycote has introduced three new lightweight, telescopic carbon-fibre audio boom poles. The 1.63-metre-long G3, with three sections, and the 2.49-metre-long G5, with five sections. The G5 comes in two versions, a standard pole and one with an internal coiled cable and built-in Neutrik XLR connector in the hilt (pictured).

For several years, following its takeover of US boom pole manufacturer Lightwave Audio, Rycote has been selling telescopic boom poles under the Lightwave name. However, with the launch of the Rycote-branded G-series carbon-fibre poles, the entire range, including the A3 and A5 aluminium poles, will now be rebranded as Rycote products - Rycote is probably best known for its shock-mounts and windshields (we use a Softie on our gun mic).

The G-series poles use the same lightweight, patented, triple-cam grip and twist locking system as the A3 and A5 poles, and with no metal parts to add to their weight combine lightweight construction with tensile strength. As on the A3 and A5, the locking mechanism is designed to be resistant to jamming when the pole is dirty; however, if necessary, the locking collars can be completely stripped down for cleaning in the field if required. The G3 weighs just 360g, the standard G5 is 580g, while the G5 with internal cable weighs 720g - if you are holding a boom mic over your head for a long take, any weight saving is appreciated, and having the built in cable is one less thing to worry about or hear flapping in the wind....

List prices are G3: £150; G5 Standard: £204; and G5 with internal cable: £288, including VAT.

By David Fox

Røde’s VideoMic goes Pro

The original Røde VideoMic is widely used for video production, and is a particular favourite for HD DSLR users. Now there is a VideoMic Pro offering new features specific to professional video.

Noise transference has been significantly reduced using both a revised, more elegant shock mounting system and a lightweight premium cable.

The VMP is smaller (15cm long), weighs 85g, and is also centrally balanced, making it mosre suitable for use in conjunction with low-cost camera stabilisation systems.

It has a super-cardioid condenser microphone, integrated foam windshield, 3.5mm stereo mini-jack output (dual mono), two step High Pass Filter (flat, 80Hz), three-position level control (-10dB, 0, +20dB), uses a 9v battery offering up to 70 hours battery life (alkaline). It has a camera shoe mount with 3/8-inch thread for boompole mounting, and comes with a DeadCat VMP furry windshield.

It will be on show at BVE 2011 on stand C-44 (www.sourcedistribution.co.uk).

By David Fox

Wireless audio without interference

Shure’s upcoming Axient Wireless microphone system is claimed to be the first wireless system to both detect interference and automatically change frequencies to avoid interference.

“Uncertainty and volatility in the RF spectrum are the new reality for professional wireless users,” explained Sandy LaMantia, Shure's President and CEO. "They face increasing pressure to deliver interference-free performance even though conditions are more unpredictable than ever before. The Axient wireless system was designed from the outset to withstand interference from the analogue and digital sources that exist today and may exist in the future.”

The Axient system employs several new innovative technologies that work together to deliver interference-free audio at critical events, such as live broadcasts.

“Axient defines a new standard for control and confidence in applications with zero tolerance for failure,” added Erik Vaveris, Category Director for Wireless Products at Shure. “This is the first wireless microphone system that can detect interference and avoid it automatically. Today, when unexpected RF interference arises, an engineer is either stuck with dropouts or they can run a backup mic out to the performer. Axient makes that a thing of the past.”

Features include: Frequency Diversity, which transmits full-bandwidth audio on two separate frequencies to ensure seamless, uninterrupted audio for mission-critical channels, even in the face of direct RF interference; ShowLink remote control, which enables the user to make real-time remote adjustments from the receiver or a laptop, of transmitter settings like audio gain while the microphone is live; Axient Spectrum Manager, which constantly scans the RF environment, performs frequency compatibility calculations to assign clear frequencies to each wireless transmitter, and deploys backup frequencies automatically; Smart lithium-ion rechargeable battery packs; and Wireless Workbench 6, a new software interface that enables users to monitor and control the entire system.

“The Spectrum Manager functions as an air traffic controller for the system,” said Vaveris. “When the receiver’s Interference Detection & Avoidance feature senses interference, the Spectrum Manager assigns a new frequency that it knows is clean. The frequency is deployed to the transmitter by the ShowLink wireless access point, and the transmitter and receiver execute a synchronized frequency change in a matter of milliseconds, making it virtually undetectable. And with Frequency Diversity enabled, there is no audible trace whatsoever.”

The Axient Wireless microphone system will be available in mid-2011.

By David Fox