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NAB 2006: JVC introduces third-generation HDV camcorders

Apr 24, 2006 11:20 AM, Steve Mullen

At NAB 2006, JVC introduces the GY-HD250U and GY-HD200U ProHD camcorders. These add 60p capture to the capabilities of the company's line of HDV camcorders.

Three years ago JVC announced its second HDV camcorder, the GY-HD10, an upscale version of the consumer group's GY-HD1. The HD1 was the first HDV camcorder to come to market, and it introduced the world to both “low-cost HD” and MPEG-2 Transport Stream video recorded to MiniDV tape. Because of the HD10’s origin in JVC’s consumer group, it lacked the controls that many felt were necessary.

Nevertheless, those of us who invested the effort to understand how to shoot low-temporal-rate progressive video have obtained – and continue to obtain – stunning HD video from the first-generation JVC camcorders. That’s because JVC’s single-sensor implementation, universally derided at the time, produces gorgeous color. Now that single-sensor implementation has been adopted by Sony and other HD camcorders (ARRI D20, Dalsa, and the new Silicon Imaging SI-1920HDVR digital cinema camera).

Last year, JVC introduced an HDV camcorder that moved the pro group way beyond the HD10. Its GY-HD100 has been the only low-cost HD camcorder that does not have any of the following issues: horizontally under-sampling CCDs; both vertically and horizontally under-sampling CCDs; unevenly temporally sampled, de-interlaced 24fps; or de-interlaced 24fps. Put simply, the HD100 has been the only full resolution (1280x720), 24fps, progressive camcorder at any price.

The GY-HD100, however, was missing one shooting mode — 60p. Many of those used to shooting 60i video have either unable or unwilling to learn to shoot low-temporal-rate — 24p or 30p — video. These shooters need a 60Hz field or frame rate. However, 60p is more than a substitute for 60i; it has two unique advantages. First, it captures high-speed motion far better than does 60i. That makes 60p perfect for shooting sports, news, and studio productions.

Second, in my opinion, once the frame rate exceeds approximately 48Hz, the image flow begins to match our vision system’s input flow. The resulting experience is exactly the opposite of that created by a frame-rate of approximately 24Hz. A very low temporal rate deprives our brain of an adequate flow of new information, so we do not experience the image flow as representing reality. Nor do experience that "reality" when the same information is flashed two or three times, to decrease or eliminate flicker.

Therefore, 50p and 60p create an experience of “reality.” Moreover, when these high temporal rates are combined with high resolution and superb color fidelity, we perceive a “looking through an open window” experience. Depending on your aesthetic goal, this look can be perfect for shooting documentaries.

HD video at 60p can be recorded as HDV to MiniDV tape, written to the DR-HD100U HDD (via FireWire), captured by a digital recorder with an HD-SDI port (such as the Wafian HR-1), or input as analog component video through a digitizer (such as the AJA HD10A). In the latter two cases, 4:2:2 video is captured.

When recorded to tape, 720p30 (6-frame GOP) and 720p60 (12-frame GOP) video both have a data rate of 17.8Mbps, which represents a bit-reduction ratio of approximately 37:1. As a point of comparison, ATSC 720p60 is typically encoded at 15.6Mbps to 17.8Mbps, which provides the same a bit-reduction ratio.

JVC has implemented 60p in its new GY-HD250U camcorder. Building on the “compact shoulder” form factor, the new ProHD camcorder offers the comfort and stability of a shoulder-style camera with the light weight and maneuverability of a handheld. Specific features on the GY-HD250U not found on the GY-HD100 include: ultra-efficient MPEG-2 encoding (12-frame GOP for 60p), 4:2:2 HD-SDI output (the signal may contain embedded audio), genlock input (works in both SD and HD mode), timecode synchronization, composite video input (for a pool feed), enhanced Cine Gamma, a built-in mount for 14.4V professional batteries, and BNC connectors. According to JVC, the GY-HD250 will be priced at about $9K (without lens) and will be available this fall.

With its component and HD-SDI outputs, the GY-HD250U can be used with HD switchers. A 16:9 LCD Studio Viewfinder with 4:3 zone markings also supports both SD and HD operation. The HD250 can be converted to a cost-effective studio camera with the KA-HD250 Studio Kit. An optional CCU (Camera Control Unit) provides convenient multi-core connection for power, genlock, R/B gain, black level, and intercom at up to 330ft. (Full remote access to camera menus is possible.) The KA-HD250 studio cradle with optional pan and tilt head plus remote controller is also available. The HD250 can use the GY-DV550U existing multicore cable and CCU.

Clearly, JVC is targeting a huge market with the GY-250U. Studios within corporate, religious, education, and government organizations that desire to upgrade to HD are prime candidates for the studio upgrade kit. Most of these organizations will also require field operation, which is where the new camcorder will be especially popular.

Given the GY-HD250’s low weight and low cost, broadcast news organizations might find it far more desirable a choice than other ENG camcorders that use more expensive media. This is especially true for foreign newsgathering, for which MiniDV tapes are nearly universally available.

A slew of new lens options are available for both the HD100U and HD250U. However, when it comes to lens selection, JVC’s new HD200 is truly unique. The GY-HD200U features an optional Arri PL (Positive Lock) mount adapter. The mount supports prime and zoom lenses already owned by film schools and rental facilities.

The HD200 also features an “Image Flip” function to compensate for picture reversal caused by some prime lens adapters. Like the HD100 and HD250, the 200U supports 24p. However, for those who want to shoot at 60p, the GY-HD200 also features the HD250’s 60p encoder.

Cosmetically, the GY-HD200 is same as the HD100 except, like the HD250, it includes the professional 14.4V battery mount. The GY-HD200 will be priced at about $8K (with 16X Fujinon HD lens) and will be available in fall 2006.

To obtain more information on the HD200 and HD250, plus information on new options for the HD100, click to http://pro.jvc.com/prof/main.jsp. You will also find information on the other JVC products announced today at NAB 2006.

In the next newsletter, I will look at Sony HDV and XDCAM HD NAB announcements, and I'll provide more details on the JVC offerings.

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