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First Look: Sony HVR Series

Jan 1, 2008 12:00 PM, By D.W. Leitner

Sony expands its HDV family with three new camcorders and a deck.

To avoid a similar pickle, Sony is introducing alongside its Z7/S270 camcorders a new DV/DVCAM/HDV player/recorder: the HVR-M35U (MSRP $5,540), which features — yet another Sony first — both interlace and native progressive 1080-line recording modes and full support for 4-channel HDV recording (four RCA input jacks, four XLR output jacks). And guess what? It'll play back Canon's progressive Frame Modes as well as the original HDV native progressive recording format, JVC's 720p, popularized by its GY-HD100U camcorder two years ago. There are provisos however: In the case of 720p, no recording is possible. Nor can the M35 output 720/30p or 720/24p via IEEE 1394; only analog component and HD-SDI (720/60p) output are available.

The versatile M35 does support universal recording and playback of DV/DVCAM at 60i/50i and 1080-line HDV at 60i/50i and 30p/24p/25p (segmented frame and progressive) along with downconversion to 576i and 480i. DVCAM 4-channel audio playback is also supported. As with the S270, there's SD-SDI and HD-SDI output with embedded audio and timecode but no HDMI. No RS-422 either. Like the similar HVR-M25 and larger HVR-1500 HDV decks, the control panel features a built-in 2.7in. LCD for visual reference without a monitor.

So what is HDV native progressive recording anyway, and why is it needed? The original HDV specification announced by Canon, Sharp, Sony, and JVC in September 2003 did not include 720/24p, 1080/30p, 1080/25p, 1080/24p, or 4-channel MPEG-2 Audio Layer II and PCM audio — these have since been appended in a revised spec that better answers professional needs. HDV, originally targeted at consumers like DV was, has had to grow up fast.

This has happened as the sun is setting on the era of 60i analog broadcasting and CRTs with fixed rasters. All flatpanel display technologies are natively progressive — LCD, plasma, DLP, LCOS, OLED — as is video compression used for DVDs, Internet streaming, ATSC broadcasting, digital cable, DivX files, etc. Progressive video is, therefore, easier to encode during compression, and there's no need to deinterlace it later for non-CRT displays. Anyone encoding video for Internet distribution will readily corroborate the advantages of originating in progressive instead of interlace.

However, what will confuse many about the Z7/S270 and M35 is that there are two ways to skin the cat in terms of acquiring progressive-scan HDV: interlace (PsF) and native progressive. Sony calls the first method “24p/30p Progressive Scan Mode” — segmenting a 24fps progressive scan over 60i with 2:3 pulldown. (Both 24 and 24A are options in the Z7/S270's “PROG. SCAN” menu — but be cautioned that Sony's 24A is not the same as Panasonic's 24pA described above; instead, it's a mode that resets the I-frame of MPEG-2's 15-frame GOP at the beginning of every take to facilitate cutting 24p on some NLEs. Hardly needed these days.)

Sony calls the second method “24p/30p Native Progressive Record Mode” — encoding a progressive HDV signal stream for recording or output via IEEE 1394 (Sony's i.Link, aka FireWire) to compatible NLEs. Perfect for disc and web.

Make no mistake; HDV native progressive recordings are still MPEG-2 with a 15-frame GOP. In other words, an HDV tape capturing a native progressive signal travels at the same speed it would recording standard 60i HDV. Likewise, there's no saving in storage when recording native 24p HDV to CompactFlash like there is when capturing native 24p intraframe DVCPRO HD to a P2 card. What's more, only cameras, decks, and NLEs expressly designed to accept an HDV native progressive signal will be able to read it. Even Sony's own HVR-DR60 hard disk recording unit, which attaches to the Z1 and V1, does not accept a native progressive HDV stream.

If you wish to sidestep HDV horizontal subsampling, MPEG-2 compression, and compatibility issues with HDV progressive signals altogether, then look to the Z7's HDMI and S270's HD-SDI outputs for uncompressed 1920×1080 (from their ClearVid CMOS sensors upon interpolation). The S270, incidentally, can simultaneously output HD-SDI, analog component, and composite — another first for a Sony HDV camcorder.

A few parting grace notes: The Z7/S270 mic holder is a new “one-touch” design with a clip instead of a screw for quick release. The improved bayonet-attached lens hood is also one-touch. Both camcorders feature dual 1/4-20 threaded holes in their base for using two screws instead of one to better attach tripod plates (the unthreaded pin hole remains). This prevents the camcorder from torquing itself loose, a common complaint. Did I mention the “digital water level,” an onscreen display for leveling the horizon using the Z7/S270's internal accelerometer? (Same technology iPhone uses to upright its image.) A great way to guarantee vertical framing when mounting the camcorder to unusual rigs or going handheld.

I've covered a lot of ground here in a short space, but this impressive volley of innovative new products from Sony, along with the equally impressive EX1, redefine what a small professional HD camcorder can be in the 21st century. Time to say goodbye to the first DV era, hello to the next.

© 2008 Penton Media, Inc.