This was also posted in the Creative Cow HDV forum.
Yesterday Sony Portugal held a demo of their new broadcast division line up including the pro version of the HDR-FX1 as well as the HDV VTR which at the time, still had no designation on them, but as I?ve since found out, the pro camcorder is now called the HVR-Z1.
As also mentioned in previous first impressions, the camcorder was larger than I expected (compared to the PD-170), rather like a hefty all black JVC GY-DV300 Streamcorder, except with the LCD monitor was on the handle. For the demo, the camera was tethered to a very nice Sony 23? LMD monitor (standard BNC SD component input) with a cable that connected to the camera with a small, and somewhat frail looking, propriety jack. The HDV VTR, however, was connected to a similar monitor?s SD component input, but with 3 standard BNC cables. Curiously the HDV VTR had ilink, composite, S Video as well as BNC component outputs, but only unbalanced RCA audio outputs.
Within the confines of the large demo room, I must admit I was extremely impressed by the sharpness and detail of the image. Side by side with some of Sony?s new full size HD cameras 730, one needed to look twice to see the difference? well, until you panned rapidly. Clearly the smaller HVR-Z1?s enormous compression ration falls short of its full size siblings in its ability to deal with motion but still, I thought the image was nothing short of spectacular coming from essentially a handycam.
Next to the HDV camcorder, the HDV VTR was playing a demo tape shot in Bali, purportedly with a HDR-FX1. Here the full splendor of the HDV?s 1080 3 ccd image really came alive with the luscious colors of the tropical island. Still, one was very aware that the images were purposely shot to bring out the best of the camera; with very steady and fluid pans and most probably a small steadycam. The detail was incredible; in a shot a woman in a hot tub, one could count the goose pimples. It reminded me of Photo 35mm Ektachrome E100VS (very saturated) slide film.
Unlike stated in the previous post, the explanation I received from the Sony Rep, substantiated by Sony?s own brochure, clearly indicated that the Pro version was 1080/50i and 720/25p switchable and 1080/60i as well as 720/30p switchable, apparently on the same camera (but don?t quote me). Otherwise the camera could also shoot DVCam in either 4:3 or 16:9. I was also told that 24p was not available and that there were going to be differences between the cameras sold in the USA and those for the European market, perhaps this would be in terms of the DVCam function being either NTSC or Pal and not switchable.
I was also quoted prices similar to those mentioned in previous post; with the camera expected to sell for under ?6000 and the VTR for about ?4000. Evidently we in Europe will continue to pay 20% more for our gear.
Personally the other good news was that it used the same standard lithium batteries as my TRV900 and the 72mm Matt box I bought for my XL1 would also fit the HVR?s/HDR?s 72mm Zeiss lens, although this would mean removing the mic on the pro version.
I believe that Sony has certainly raised the standard for the 4000$? camcorder to a whole new level much like it did when it unleashed the VX1000. While this camera could have an interesting impact on low-budget filmmaking, it is my impression that it would require considerable use of lighting, dollies, jibs and steadycams to achieve a good image, implements not necessary associated with this type of filmmaking and that any production that indeed had this type of gear, and professionals who knew who to use it, would most likely simply opt for renting a Varicam or HDCam.
Personally I think that most likely the HDR-FX1 and it?s Pro sibling will most likely find their niche in the high end consumer market, events and wedding videography, as well as perhaps travel and history type documentaries as opposed to run & gun applications. I also believe it will have very limited use in sports? well perhaps Cricket. I also hope that the kind of motion artifacts these cameras produce can be exploited for their own esthetic value in avant-guard digital filmmaking.
Abraço
Kalunga
Lisbon, Portugal
