HIGHWAY issue 1

JVC’S PATH TO IMPROVED IMAGING STANDARDS
HIGHWAY
www.jvcproeurope.com
Texaco applaud the GY-DV5100
images - see page 14
ISSUE
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The right display for HD HIG
see page 3
Picture perfect HDTV - see page 5
ProHD a concept
to meet
professional
needs
Built for professional use see centre spread
The Producer’s
Dream Camera
With the launch of JVC’s
ProHD you would be forgiven
for thinking that we had
introduced
just
another
camcorder. No-that is not
the case!
ProHD is a concept that
has been set firmly on the
HDV™ standard, which was
established by Sony and JVC,
and which has subsequently
been adopted by major
manufacturers around the
world. HDV™ encompasses
the recording of high definition
pictures onto a DV tape
using MPEG-2 compression.
Hence the name HDV™ (High
Definition on DV).
The ProHD concept enables
JVC to develop according
to the needs of the most
demanding
of
camera
operators. It supports both
standard definition and high
definition using DV and
HDV™ formats. The launch
product places particular
emphasis on the provision of
professional features such as
interchangeable lenses, SD
memory card and operational
ergonomics that will suit video
and film operators alike.
So, the ProHD concept applies
professionalism to today’s
acquisition needs so that the
cameraman can fully express
his creativity on tape and film.
GY-HD100
- interchangeable lenses make the difference
After months of speculation
about how JVC would enter
the professional high definition
market, all was revealed at
NAB a few weeks ago when the
GY-HD100 was launched to the
world stage at NAB in Las Vegas the town renowned for its
spectacular and “larger-than-life”
style. Bearing the ProHD logo and
developed to the HDV™ format,
this deceptively compact but
sturdy camcorder is packed with
professional features that belie
its diminutive stature.
world beater in the GY-HD100.
In fact someone was heard to say:
Visitors to NAB flocked to the
JVC booth to get a first hand
glimpse of this new entry to
the HD market. Having had
the opportunity to handle the
camcorder and see the live
720p 60 pictures being generated
from it, the reactions of the folk
leaving the booth lead us to
believe that JVC has a potential
“that new camcorder of
recorder/player, model BR-HD50,
will enable resellers and users
alike to profit from their
investment in ProHD in the future.
JVC’s looks like it could play
a significant part in the
development of competitive
HD production”.
The versatility, professionalism
and cost-effectiveness of the
GY-HD100 and its ProHD partner,
The pages that follow will give
you full insight into the many other
JVC professional products that
will both improve your images
and contribute to your profitability.
™
2
HIGHWAY
From
the
Editor
HDV™ – THE AFFORDABLE
WAY FORWARD
Some of the influences that have led to the
growth in the demand for High definition pictures
THE QUEST FOR
REAL QUALITY
In their inimitable way artists and designers, over the
years, have quested to express themselves through
the creation of a particular look, style and feel.
Classic examples of this are shown in the works
of such luminaries as Monet, Van Gogh, Turner and
Leonardo Da Vinci.
More recently, since the advent of the Industrial
Revolution, the discovery of new resources, new
manufacturing processes and new synthetic
materials, has led many more - perhaps less
gifted - to strive to recreate, on a variety of new
media, the sort of look, style and feel that those
artistic pioneers portrayed so skilfully on parchment
and canvas years ago.
The rate of development has gathered pace so much
now, that there is increasing pressure on
manufacturers in the broadcast, entertainment and
corporate communications industries, to create
dynamic and often larger-than-life images on screens
that themselves get larger every year. Of course, the
larger the screens, the more critical is the generation
and display of high quality images that will
successfully and realistically portray the sort of look,
feel and style demanded by today’s artists,
cinematographers and programme makers. Now High
Definition is the apparent panacea to satisfy those
demands. And it seems that, although the rate of
adoption of High Definition (HD) differs from continent
to continent and country to country, there is little
doubt that it will be here to stay.
However, while the (varied) pace in the adoption of
HD continues, there will be a need to satisfy both the
Standard Definition (SD) and High Definition “camps”.
Hence the development of camcorders that will
record to both SD and HD formats and monitors and
projectors that will accept and display those formats
as well.
Unlike Leonardo Da Vinci who, farsighted though
he was, had only limited media on which to express
his ideas and creativity, we strive to future - proof
today’s needs and tomorrow’s aspirations with
ProHD, an HDV™ concept to satisfy many.
To date the adoption of HDTV
has been centred in Japan,
the USA and to a degree
Australia. However, now in
Europe
HDTV
is
fast
becoming a viable proposition
and is already being adopted
by some broadcasters. Its
full adoption will take some
time yet. However, now is a
good time to consider future
proofing your programme
making - because HD will be a
pre-requisite at some stage!
What has spurred this
present impetus on!
2003 primarily for use in the
USA and Japanese markets.
The format
requirements
Added to this are the
increasing number of plasma
monitors and large flat
LCD screens that have HD
resolution capability.
■ 1) The ability to record
Furthermore, PC displays
with HD quality potential are
becoming widely used now.
Already HD content is
available on 4.7GB DVD’s
using WMVHD.
The appetite for HD will be
whetted even more when HD
DVDs and Blu-ray, together
with equipment to play
and record them, become
available within the next
two years.
■ 2) The HDV™ format will
comply with both the 720
scanning lines (progressive)
/1280 horizontal pixels
720p format (60p, 30p,
50p, 25p), and the 1080
scanning lines (interlace)
/1440 horizontal pixels
1080i format (60i, 50i).
To make HDTV more generally
available, it had to become
more affordable! With this
thought in mind, in July 2003,
Canon, JVC, Sharp and Sony
announced a joint proposal
of the basic specifications
for the “HDV™” (tentative
name) format.
■ 3)
Improved
error
correction by using error
correction over multiple
tracks.
■ 4) Added data for special
HD Satellite broadcasting
is becoming available, with
Euro 1080 which started
transmissions on January 1st
2004 and Sky HD reportedly
planning an introductory HD
channel in 2006.
playback because video
signals compressed by
MPEG encoding do not
support image display
during special playback
such as fast search.
HDV™ FORMAT
The format would allow the
recording and playback of
High Definition video on a DV
Cassette tape using MPEG
encoding and would include
720p (progressive) and 1080i
(interlaced) specifications.
There have been a number of
influences including, we like
to think, JVC’s development
of the world’s first low cost,
compact, handheld HDV™
camcorder, model JY-HD10,
which was introduced in
The HDV™ FORMAT
The HDV™ format includes both the 720p and the 1080i specifications.
The two specifications are called HDV1 and HDV2 to denote the different HD resolutions.
HDV1 (720p specification)
Media
Video signal
Number of pixels
Compression (video)
Sampling frequency for luminance
HDV2 (1080i specification)
DV Tape
720/25p, 720/50p, 720/30p, 720/60p
1080/50i, 1080/60i
1280 x 720
1440 x 1080
Aspect ratio
16:9
MPEG-2 Video (Profile & level: MP@H-14
74.25 MHz
55.6875 MHz
Sampling format
4:2:0
Quantisation
8 bit
Bit rate after compression (video)
19 Mbps
25 Mbps
Compression (audio)
MPEG-1 Audio layer II
Sampling frequency
48 kHz
Quantisation
16 bit
Bit rate after compression (audio)
384 kbps
Audio mode
Stereo (2-ch)
Data format
MPEG-2 system
Stream type
*HDV™ and the HDV™ logo are trademarks of Sony
Corporation and Victor Company of Japan Ltd., (JVC).
and play back highdefinition
video
on
internationally accepted
DV format cassette tapes.
Stream interface
Transport Stream
Packetised Elementary Stream
IEEE 1394 (MPEG-2 TS)
HIGHWAY
3
A great
“But there’s more
product for
to JVC than ProHD” standard
The new ProHD products join
a well established line-up of
acquisition, display, projection
and presentation products - all
designed to produce images
that leave a lasting impression
with your clients. On page 14
there is a glowing tribute to
the qualities of the GY-DV5100
Professional DV camcorder
which, in company with JVC
plasma monitors, made such an
impression on the senior
management of Chevron Texaco.
With several high profile
manufacturers withdrawing from
the production of CRT monitors,
did you know that JVC is now
one of the market leaders of
high resolution and HD capable
broadcast quality monitors?
With a growing range of CRT,
flat
screen
plasma
and
LCD monitors and with a
reputation for excellent cost
performance and reliability it
is little surprise that these
monitors are being specified
and installed in broadcast
studios and production control
rooms across Europe.
For the display of high resolution
images onto large screens, both
the native high definition HD2K
and high resolution SX21 D-ILA
projectors are fast becoming
products of choice among
leading film production and
preview theatres in London and
elsewhere. This is evidenced
by several News items which
appear on the pages throughout
this publication.
In these ways JVC products
are
raising
the
imaging
standards of video users across
many continents.
Designed by professional camera
operators in Europe for use by
professional camera operators in Europe
The dual purpose cushioned audio
monitoring speaker is a great
novelty because it assists camera
stability as well as providing easy
listening. Another audio feature
is the twin headphone sockets
for both camera operator and
the producer.
The design approach of JVC’s
professional
camera
division
was to start with a blank
sheet of paper, as opposed
to starting with a consumer model
and
then
applying
some
professional features.
Taking full advantage of this
open approach, some members of
JVC’s engineering and planning
team spent considerable time in
Europe visiting broadcasters and
consulting their cameramen as to
what was essential in terms of
features and functions. Amongst
these
organisations
whose
cameramen provided such valuable
information were leading video
schools CEV and Septima ARS
(Madrid) and broadcaster TV3
(Barcelona) in Spain, RTL Cologne,
Rhein-Main TV (Frankfurt) and
the University of Rhein-Sieg In
Germany and, last but not least, the
BBC in UK.
Many of their design requests
were to do with the positioning
of controls and switches and how
they should operate. As a direct
result, a cameraman will find for
example that the audio level
controls can be easily located by
feel rather than looking, that the
FAS (Full Auto Shooting) control
is in a place where it cannot be
accidentally triggered.
Customising the camcorder is
possible in two ways; one way is
with the three user-assignable
function buttons and the other is
by utilising the SD card slot to
memorise camera set-ups, so that
they can be not only re-used on the
same camcorder but also be
transferred instantly and reliably
to other camcorders.
JVC wishes to thank those
professional camera operators for
their key role in the development of
this mighty little camcorder. We
hope they will enjoy the fruits of
their applied experience.
definition
Now, no-one needs to agonise
over the future rate of
demand from their clients for
HD productions in preference
to SD. The GY-HD100 allows
programme makers to carry
on producing in standard
definition, knowing that when
the demand arises they can
equally shoot high definition
productions with the same
camcorder.
Using the GY-HD100 in
standard definition mode has
two major plus points. These
arise from the fact that the
camcorder has a set of native
1280 x 720 pixel CCDs with
progressive scanning. The
first advantage is the choice
to shoot in either 16:9 or 4:3
mode. The second advantage
is that, being progressive
scan, the video frames that
are captured for photographic
still purposes are of a much
higher quality than if they are
captured at half the resolution
of an interlaced scan.
Those producers who already
have a JVC 1/2" camcorder
have a further advantage
because they will also be able
to use their existing lenses by
acquiring the 1/2" bayonet
lens mount adaptor. The 1/2"
lenses will be suitable for
16:9 production in both
standard and high definition.
So, despite the letters HD in
the model name GY-HD100, it
is a great little SD camcorder
in its own right.
4
HIGHWAY
Progressive
Progression
HDV’s Star is Rising
JVC’s original PAL HDV™
camcorder – the GR-PD1EK
– has been used by David
Ireland, a renowned wildlife
documentary maker, for
several of his documentaries
including Outback Serpents,
Giant Moray Eel and
Surviving Africa. These three
productions, shot in 2004,
will soon be released
worldwide.
The technology of television is very clever and sometimes
we forget just how innovative some of the early workers in
this field were. However some of the early ideas and
techniques are still used today, simply because we have
just got used to them and not really because we want or
need to use them. One of these ideas is the use of
interlace. Interlaced scanning was a clever idea to limit
the amount of bandwidth required to transmit a television
picture. It relied on the persistence of vision of the human
eye to take effectively two ‘half’ pictures and make a
whole one. Clever, but now unnecessary.
JY-HD10U launched in 2003
Most modern cameras use CCD devices to capture
the image. These are not scanned in the conventional
sense but just sit there gathering light and converting it
into current. We can choose to read out the data from
these devices anyway we like.
At the other end of the chain more and more people are
watching television on some form of flat panel display, be
it a Plasma display or an LCD display. The point about
both of these is that they are not scanned devices in the
way that the CRT is scanned. They employ digital
memory that will allow the panel to be updated in almost
any way that we choose. So the question is, if we have
full image capture capabilities at one end and full
image display capabilities at the other, why do we
artificially introduce interlace in the middle? Keep in
mind that, in order to drive a progressive display from an
interlaced signal, extra de-interlace processing is
required. In itself, this can add cost to the receiver and, if
it is not done properly, it can introduce even further
degradations to the signal.
As consumers we are becoming more and more used to
watching progressive displays. Anyone who uses a
computer – and who doesn’t these days? – is watching a
progressive display. Computer manufacturers have no
need to use interlace - so they don’t! This situation will
become more of an issue as home media systems
become more prevalent. For in this case, the viewer will
be using their home display for computer games or web
functions as well as watching television. It will seem
strange that, when playing games they can have a
progressive display but when watching television, they
must accept a reduction in vertical resolution due to
watching interlace.
Interlace on moving subject
As new display technologies develop such as OLED
(Organic LED) or SED (Surface Conduction Electron
Emitter Display) these will all be progressive display
devices. So as displays develop, we will see less and less
of the conventional interlaced CRT, and more and more
flat panel progressive units.
Sooner or later we will all be watching progressive
pictures, so we had better get used to it!
An extract from a report by
Farah Jifri in April 2005 issue
of TV Technology Europe.
Following a tentative start
HDV™ looks to be on the
march. NAB saw the launch
of a new HDV™ camcorder
with interchangeable lenses
from JVC, and companion
player. Unlike the JY-HD10U
camcorder, a 25fps version
of the new camera will also
be available – good news for
HDV™ proponents in the
European market.
“JVC is committed to
HDV™,” said Ian Nicoll,
General
Manager
for
Product Management at JVC
Professional Europe. “We
see it going forwards as a
format and the fact that
Sony has now entered the
market underlines this.”
“Broadcasters can’t afford to
shoot everything in Varicam
or HDCAM, so what they
want is the same production
capabilities available to
them in HD that they have in
SD” he adds.
So, just as you might use a
combination of DV and
DigiBeta in different filming
situations such as fly-on-thewall documentaries, Nicoll is
confident that HDV™ will
fulfil the same function within
an HD environment.
JVC’s faith in the format
has paid off with a number
of
filmmakers
adopting
the JY-HD10. Independent
filmmaker Aven Dawson, of
HQ Blue, is one of them,
having used the camera
during a filming trip to
Mexico for Children of the
Aztec Kings, a ten-minute
documentary shot in HD
that highlights the culture
that has evolved in Mexico
over 10,000 years.
The
documentary
was
screened in Edinburgh at the
Sweet HD Festival in August
2004. The camera was used
once again by HQ Blue at the
Edinburgh Tattoo ceremony,
in a behind-the-scenes look
at
the
ceremony
for
the BBC. Similarly, German
production company, Vision
21, has used the JY-HD10
on location in Peru.
Ireland is probably one of
the first few cameramen to
have extensive hands-on
experience with the first
generation
of
HDV™
cameras. He chose JVC’s
HDV™ camcorder partially
for its low weight. “Being
light is important because of
what we do – we are either
climbing the mountains or
under water. The image
sharpness of the HDV™
camcorder is also very good
and it has a film-like feel
to it,” said Ireland. “But it
needs to be shot by a
professional
cameraman
and it is important to use
all the manual control.”
Sceptics, however, point to
the fact that HDV™ is yet
another format minefield.
At present we have two
different HDV™ variants HDV-1 (supported by JVC)
and HDV-2 (supported by
Sony). This scenario, they
argue is an obstacle to the
short-term success of HDV™
given that you cannot work
in both HDV-1 and HDV-2
(i.e. 720p and 1080) without
converting one to the other.
This has to be done either
via transcoding or using a
format
converter
that
supports the variance in
frame rates.
So, despite the arguments
that all you need to edit
HDV™ is an HD upgrade to
existing
SD
software,
HDV™’s doubters insist that
to avoid a long-winded
editing process, you have to
invest in the latest versions
on editing software and
hardware which can support
both versions.
Nicoll doesn’t buy into this
argument however, pointing
out that you can playback
HDV-1 on HDV-2. He also
insists that “1080i and 720
don’t matter a jot because
everyone is going to use
non-linear editing rather than
linear editing. These systems
from Avid, Canopus etc, can
handle whatever format is
thrown at them, so we can
leave it to them.”
Canopus has a number of
solutions available at the
moment that will allow users
to edit HDV™ in the form of
its OHCI FireWire or Edius
3 Pro Software. The OHCI
doesn’t have a component
HD output but this is
available with both the
Edius NX and SP for HDV™
cards. With the latter, users
can view their HD material
on an HD monitor during
the editing process. Similarly,
Pinnacle
also
supports
HDV™ editing via its Liquid
Editing 6 software. Video can
be edited and then recorded
back to tape, or used to make
a standard definition DVD.
If you listen to the likes of
Sony, JVC, Gearbox and
Canopus, all appears rosy
in the world of HDV™ with
signs of real momentum
moving forward.
Note from editor:
Now the GY-HD100 is here to
capitalise on the momentum!
GY-HD100E launched in 2005
HIGHWAY
JVC’s Star On-Screen Qualities
The gathering pace of broadcast productions in high definition,
together with the increasing availability of HD quality DVDs,
place particular emphasis on the need for the quality of such
programmes to be maintained at the point of display. It is
important also that these same screens must be able to be downscaled from HD to lower resolutions. The European consumer
electronics and IT sectors have set a minimum standard for Flat
Screen Displays and Monitors to meet these needs in the home
environment. The European Industry Association for Information
and Communication Technology (EICTA) has been established to
control and monitor this standard. A major part of this regulation
is the licencing of the standardised “HD Ready” logo. The
minimum HD display standard, set for
all types of display devices, is defined
as 720 lines, and with component and
DVI or HDMI inputs provided.
While soon JVC consumer flat panel displays and rear projection
monitors will comply with the minimum HD resolution standards
of the products in the
set to be “HD Ready”, many
‘professional’ range of
flat-screen and CRT
monitors, as well as
the top-of-the range
already conform to or
D-ILA projection systems,
HD display standards.
surpass the minimum
The CRT still has it
In spite of the recent developments in flat-screen display
technology, CRT monitors continue to out-perform LCD and
plasma displays in their capacity to handle fast movement,
reproduce colour accurately and resolve fine detail.
Brighton Film Studios, the facilities subsidiary of The Brighton Film School,
one of the UK’s leading establishments in teaching practical film
production to future practitioners of film making, has recently taken
delivery of JVC’s DLA-HD2K high definition projector. School Director,
Franz von Habsburg first saw the projector at VMI’s new High Definition
and Broadcast facility in Soho. The quality of images there convinced
Franz that Brighton and some of the film makers learning their craft from
the school, should be the beneficiary.
Jay Kay “chills out”
with an HD2K projector
“Chips with everything”
Colourists in film and
Trainers in the corporate
sector, to fully exploit,
monitor and display the
image qualities of their own
creativity in high definition.
Boundless creativity
Today, JVC’s extensive
range of CRT and flatscreen
monitors
and
D-ILA projectors enables
many users, including
Programme
Producers
in television, Directors
of
Photography
and
A Practical Lesson in Film Production
“What I liked about the HD2K particularly was the scaler” says Franz. “It
ramps up any input of a lower standard to HD and produces an image that
is outstanding and virtually pixel-free to the naked eye. We have a 2 metre
screen installed and the result is just exceptional.”
HD Projection with
D-ILA Technology
The range of D-ILA
projectors that JVC has
established in their line-up
of large screen display
devices, is synonymous
with clarity of image and
fidelity of colour. This
is witnessed by their
continued usage in such
varied applications as
The Access Cinema Group in Ireland have selected the D-ILA SX-21
projector to be installed in a growing number of special cinema systems
that will take cinema quality presentations to new locations around the
country. This is an ambitious Arts Council initiative which has the strategic
aim to encourage an improved feeling of community in Ireland where
prospects for leisure and entertainment activities are otherwise severely
limited. The SX-21 was selected after a thorough research into projector
systems and a detailed evaluation of a number of candidate projectors.
Several factors influenced the cinema’s decision, not least of which was
the SX-21’s colour definition capabilities and its ability to scale pictures up
and down with no degradation to resolution. In excess of 12 fixed and
portable systems have been set up so far – with more expected.
In this way, JVC’s top-of-the-range DT-V series monitors
are capable of showing stunning HD pictures - as many
broadcasters across Europe will testify - and they are
designed with total flexibility in mind. In each monitor several
rear-mounted slots will accept a variety of signal interface
boards, to enable users to upgrade from analogue to SDI
and from SDI to HD SDI as demands dictate.
The flexibility of these monitors is fully maintained by
the inclusion of a removable 16:9 screen ‘mask’ which
enables 4:3 displays to be shown if required.
broadcast studios and
hospital training theatres.
Now, in order to meet
today’s and tomorrow’s
demands for superior
HD quality projection
displays,
JVC
has
developed a selection of
wafer-thin high resolution
chips which are capable
of displaying images well
beyond even current high
definition standards.
NEWSINBRIEF
D-ILA SX21 projector takes
cinema to the masses in Ireland
As well as accepting the HDV range of 720p and 1080i signals
at both 50 Hz and 60 Hz these monitors will accept also
the new digital film formats of 1080/24PSF and 720/24PSF.
The exceptional image
qualities of JVC’s range
of D-ILA projectors are
due in no small part
to their deployment of
3-chip technology.
5
This shows the full line-up of six models of D-!LA (Direct-drive Image
Light Amplification) devices.
The coin shown in the picture, for size reference purposes, is the Japanese ¥100
piece which is Ø 20mm.
In his historic manor house, nestled in the rural suburbs of London, Jay Kay
of Jamiroquai installed a state-of-the-art multimedia cinema to chill out
and relax during his breaks from touring and recording. To match his need
for a projector that could combine high image quality with connectivity to a
wide range of signal sources, Jay Kay chose JVC’s HD2K native high
definition D-ILA projector. The Cinema really is a 21st century “technology
tavern” where the HD2K is automated with lighting, blinds and audio.
Sound Engineer Rick Pope says of the projector, “The HD2K was literally
plug and play so we were up and running quickly and had no problems with
the projector ‘talking’ to our other bits of kit. High Definition is the future of
films and DVDs. Choosing the HD2K was definitely the way forward and we
wanted a projector that was future proof. The HD2K is ideal for our cinema.
We are now waiting for HD DVDs to run on the cinema system.”
6
HIGHWAY
GY-HD100E
The world’s first HDV™ camcorder with interchangeable lenses
As soon as you handle this camera you cannot fail to be
impressed by the build quality and the care that has been
taken in the design layout of the controls.
ND filter
Audio input
For brighter daylight conditions 2 steps
of ND filter are available.
Audio input is via 2 x XLR which
can be switched between Line
and Mic level with Phantom
power On/Off. Manual level
controls
give
independent
control over both channels.
A MiniDV drive is
provided for recording
the DV and MPEG-2
TS signals.
Construction
Detachable Viewfinder
A magnesium die cast body gives the camera a solid feel but
the camera still remains light enough to be handheld.
Ergonomics
Video Recording
There is plenty of adjustment to ensure that the camcorder
sits comfortably on your shoulder irrespective of your stature,
while making access to the control layout easy. The shoulder
pad will slide backwards and forwards to position the
viewfinder eyepiece comfortably on the eye. The viewfinder
has extensive sideways adjustment for operators who use
their left eye. The padding which surrounds the monitoring
speaker acts as a side cushion and braces the camera
against the face to ensure stability. Again, the positioning
of this is adjustable.
In Standard Definition the camcorder can record in DV format
in either 4:3 or 16:9 aspect ratio at 576/50i (standard PAL
Mode) or 576/25psF (progressive segmented Frame mode).
In High Definition the HDV1 format records in MPEG-2 TS
720/25p, 720/30p or 720/24p (23.98). There is a further option
of MPEG-2 TS 576/50p.
Video Playback
In playback the signal can be obtained at the same rate at
which it was recorded or can be down-converted to standard
definition. Additionally, progressive scan can easily be
converted into an interlaced output with no artifacts, while the
signal can be cross-converted also to give a 1080i output.
The camcorder is fitted with a detachable 0.44"-type
235,000-pixel (980 x 240 pixels) LCD viewfinder which can be
adjusted for left or right eye shooting. The eyepiece can be
moved forwards or backwards for added operator comfort.
Peaking is optimised to make focusing easy at all times.
Video Output
A Tri-mode 3.5-inch LCD display folds out from the
side of the camera
For output a 6 pin IEEE1394 connector has been used rather
than a 4 pin. This does not mean that the camera can be
powered down the lead but it has been fitted for reliability as
the 6 pin connector is much more robust.
Component connectors can output the up or down-converted
signal from the camera.
A composite output is provided for PAL output when in SD
mode and a down-converted output when in HD mode for
basic monitoring on an SD display.
Live output
The CCD block already outputs 720p 50 or 720p 60 and so
live uncompressed HD can be obtained from the Component
output sockets.
On this camera the Audio level controls have been moved to
the front left hand side, making it possible to adjust the audio
levels by viewing the level meters in the viewfinder.
This could be sent directly to a monitor or projector or via an
external component to SDI converter to produce an
uncompressed HDSDI feed.
If the camcorder is fitted with a relatively heavy lens, to
increase the camcorder’s stability while it is standing on a flat
surface, a special retractable “foot” can be pulled out of the
base unit to stop it from tipping forward.
This 250,000-pixel (1124 x 222 pixels) 3.5" colour TFT LCD
monitor provides a high-resolution image during shooting or
playback. Its peaking adjust function allows quick, effortless
focusing. A push button selects three display modes.
1. Video only.
2. Video images with text information overlay including time,
status, mode, and other data are shown on the screen.
Camera Head
3. Data information only including time, status, mode, and
other data are shown on the screen.
The GY-HD100E is a 3 x Progressive CCD
using 1/3" CCD with a native resolution of
1280 x 720 pixels.
3 User Memories and SD Memory Card
Focus Assist
Bayonet Mount
The camcorder head has a 1/3" bayonet
lens mount which allows a variety of
lenses to be fitted. An optional 1/3" to 1/2" lens adapter is
available to allow 1/2"
lenses to be fitted to the
camera.
Also, the use of Cine
adapters such as the
Mini-35
from
P&S
Technik enables Cine
prime lenses to be fitted.
A new Focus Assist
technique is used to
aid focusing, which is
a variation on using
peaking as an identifier
as to whether an object
is in focus. When the
Assist button is pressed
the viewfinder turns to
monochrome and, as
an object comes into focus, the edges become coloured, which
helps identify the point of focus in the scene.
The camera is provided with a SD (Secure Digital) Memory
Card for storing up to 3 Scene files or different setups of the
camera. So if time has been spent carefully matching up this
camera with a different manufacturer’s camera then the setup
can be stored for future use. The files can be saved to PC and
electronically mailed.
HIGHWAY
GY-HD100E
SD card slot for storing
different camera set-ups
Mic/Line select switches
Mic XLR input connectors x 2,
Phantom power also available
size
7
8
HIGHWAY
GY-HD100E
Focus Assist button, 1 of 2
(other one on camera handle)
Professional 16x zoom lens
with detachable lens hood
and matte box mounting
ND filter select
Bayonet lens mount
Actual
HIGHWAY
Colour 0.44" viewfinder with
right/left eye positioning
Side cushion, incorporating
audio monitoring speaker
3 user assignable
function buttons
Audio Rec level controls
size
9
10
HIGHWAY
Top view of GY-HD100E
Focus Assist button, 1 of 2
(other one on the side of camera)
REC tally light
Earphone jack
x 2 (stereo)
Full Auto Select
(FAS) switch
Component video output
IEEE 1394 connector (6 pin)
Sliding shoulder pad
Magnesium die-cast chassis
Actual
11
HIGHWAY
GY-HD100 OUTPUTS AND APPLICATIONS
Live HD
Signal: 720p 50 and 720p 60
uncompressed HD.
GY-HD100E
Application: Live event broadcasting
and recording.
DT-V1910
MONITOR
720p50
The signal natively generated
inside the GY-HD100E is the
uncompressed 720p progressive
HD format, selectable as either
720p 50 or 720p 60. This signal
is available as a live output
direct from the camera head.
This is ideal for the generation
of live pictures at sporting or
music events, or indeed at
any event where live HD
broadcasting is required.
In a typical live application the
uncompressed 1280 x 720
progressive signal will be
encoded to HD SDI for feeding
into a video server, an HD
switcher or a microwave link.
HD SDI
720p50
VIDEO SERVER
HD SDI
ENCODER
and 720p 60, according to
the ultimate destination of the
programme in question.
HD SWITCHER
Added flexibility is given to
the production company or
broadcaster because the
European model GY-HD100E is
switchable between 720p 50
MPEG2 ENCODER
HD Acquisition
Signal: 720p 25 and 720p 30 and 720p 24.
Application: Acquisition for HD.
MICROWAVE
GY-HD100E
DR-HD100
HARD DISK DRIVE
From the native uncompressed
720p 50 or 720p 60 signal,
the GY-HD100E camcorder
generates an HDV™ compliant
recording signal. The choice of
selectable HDV™ recording
signals is from 720p 25, 720p 24
and 720p 30 which can be
sent to either the built-in tape
cassette or to the add-on hard
disk recorder, or to both at
the same time. The recordings
can then be fed directly into
an NLE for editing purposes.
The progressive nature of the
pictures allow for easier
translation into interlaced
formats if so required.
A low cost way to archive the
HD footage from both the
MiniDV cassettes and the hard
disk recorder, or indeed from the
NLE itself, is to dub it across to
the BR-HD50E, which records
HD on standard size DV
cassettes up to 4.6 hrs in length.
Production flexibility is on tap
because the European video
producer can also opt to record
in 720p 30 in the GY-HD100E
Signal: 720p 25.
Application: Delivery of the same video
programme in SD today and
in HD tomorrow, using same
source footage.
NLE
1080i*
IEEE 1394
720p
SD*
camcorder and BR-HD50E
recorder in order to have raw
footage that is 60Hz compliant.
Also, if the camcorder and
recorder are being used to
achieve precise cinematographic
effects, then recording in
720p 24 is available.
BR-HD50E
TAPE
720p25
720p24
HDV™
* NLE Dependant
HD Acquisition & Archive with
SD Delivery
GY-HD100E
NLE
BR-HD50E
720p25
Whilst today’s client may only
want a standard definition DVD
copy of the corporate promotion,
wedding or sporting event,
there is good reason to originate
the footage in HD. With the
increasing development of HD
in the consumer arena, future
copies or versions may be
produced which will benefit
from the larger flat panel
displays and consumer playback
devices which will all be
capable of high
storage and display.
definition
With HDV being recorded on
exactly the same mini and
standard-size cassettes as
professional DV (Standard
Definition), the archiving of
HD footage on tape cassettes
is very cost-effective. The
GY-HD100E takes the mini
cassette with more than
1-hour’s duration and the
SD*
BR-HD50E takes both the mini
and standard-size cassette,
with the latter providing more
than 4 hour’s capacity.
So, the tag-line for HD is the
same as for SD: Cost-effective
acquisition and archiving, but
now we can add the words:
with built-in future-proofing.
SD*
SD
DELIVERY
HD TAPE ARCHIVE
DVD RECORDER
DVD
* NLE Dependant
12
HIGHWAY
GY-HD100 OUTPUTS AND APPLICATIONS
Signal: 576i digital component throughout.
Application: Integration with existing
SD editing equipment plus
additional facility for true
native 16:9 origination.
Standard Definition Production
GY-HD100E
DR-HD100
NLE
IEEE 1394
The compact size and wealth
of professional features of the
GY-HD100 apply just as much
to the SD user as to those
working in High Definition.
Existing DV equipment and
accessories can continue to
be used with the GY-HD100E.
However its three CCDs with
1280 x 720 pixel resolution
ensure high quality images
with superb colourimetry in
576i
both widescreen 16:9 modes
and also in a standard 4:3
aspect ratio.
Standard Definition formats
currently in use to those
in demand for the coming
HD standards.
For those upgrading in the
future to High Definition, the
GY-HD100E will provide a
seamless link from the
BR-HD50
BR-DV6000
BR-DV3000
DV
576i
Film School
Signal: 720p 24.
Application: Acquisition for cinematography,
transfer to film & video assist.
GY-HD100E
MATTE
BOX
From the native uncompressed
720p signal, the GY-HD100E
camcorder can be set to
generate the HDV™ compliant
720p 24 recording signal
which can record to cassette
or to hard disk recorder. The
recordings can then be fed in
and out of an appropriate
NLE and so to a film laser
printer, without any requirement
for cross-conversion, either
from 25p by way of 4% speed
change or from 30p by process
of 3:2 pull-down.
A further advantage of the
GY-HD100E for film schools is
that accessories allow the
camcorder to be transformed
into a digital film camera. The
C-mount adaptor allows prime
film lenses to be deployed and
also a matte box. Since the
optional add-on DR-HD100 hard
disk recorder will also record
the HDV™ format of 720p 24,
many hours at a time can be put
“in the can”.
LASER PRINTER
PRIME
LENSES
1/3" TO 'C'
MOUNT
ADAPTOR
For the film shooting application
of “video assist”, even standard
definition recording can be set
to 24p progressive to capture
perfectly the film effect.
HDV™
720p24
720p24
TAPE
NLE
Multi Standard Flexibility
Signal: 720p 50, 720p 25, 1080i 50
and 576i 50.
Application: Various, where material is
to be matched with existing
footage or images captured
on another format.
720p50
720p25
GY-HD100E
The diagram shows the video
signals that are commonly found
in HD and SD production in
Europe. Specifically this diagram
illustrates how these signals
are directly available from either
the GY-HD100E or the BR-HD50E
via a tape recorded in the native
720p 25 format on either of
these devices.
This flexibility comes in part as
a result of the original material
being recorded in a progressive
format, which allows for easier
and more effective conversion
to other formats than if the
original had been recorded as
an interlaced signal.
BR-HD50E
1080i50
576i50
720p50
720p25
TAPE
REC 720p25
BR-HD50E
1080i50
576i50
BR-HD50E
HIGHWAY
BR-HD50E
Recorder/ Player
This is a key partner in the new ProHD range. Equipped with all
the necessary facilities and functions it will maximise the production
qualities of your DV and HDV™ images.
Actual size
The BR-HD50E is provided with, not only all the professional digital and
analogue connections, but also with an HDMI output - to accommodate
new technology advancements as they develop in the future.
13
14
HIGHWAY
JVC’s GY-DV5100E Camcorder
applauded by Chevron Texaco
the live feed and the
playback off tape. We were
all awed by the quality.
Chevron Texaco erected an 800-seater marquee at a
local venue called Folly Farm in the UK. Employees,
retirees, their partners and families were invited to
attend the celebration of the local refinery’s 25-years
of operation. Enigma Video, the refinery’s training video
provider, was contracted to produce the video material
for the event.
We used the camcorder
hand-held for a short while
and found it extremely
comfortable and very well
balanced. In mixed lighting
the flip-out colour monitor
was a great boon for a
quick confirmation of white
balance. Unusually for me
I have only one critical
comment to make and that
is the viewfinder does not
switch to 16:9 in squeeze
mode. This is one detail
that I am assured being
addressed by JVC and when
it is, the features of the
DV5100 will be hard to
beat at the price or indeed at
any price.
Colin Riddle, MD of Enigma Video discusses the challenge.
THE CHALLENGE
THE SOLUTION
Texaco originally wanted
three 50 inch plasma screens
running several loops of
edited video. This video was
to be shown during the
arrival of the guests and
during the sit-down dinner.
Late in the negotiations
Enigma Video were asked
to provide a live camera feed
of the speeches to the
plasma screens as they felt
the marquee was so big,
most people would not be
able to see the presentation.
Texaco then added the
stipulation that the film
proceedings be recorded
for later editing into a DVD
give-away as a souvenir.
The 3-CCD JVC GY-DV5100E
camcorder was used as
the live feed camera and a
GY-DV500 camcorder was
used as the roaming camera
mainly because the DV5100
gave longer running time
than the DV500 between
tape changes. With very
little time to prepare, the
DV5100 was set up and
the output fed to the 16:9
plasma screens.
This event happened to
coincide with the arrival of
the JVC GY-DV5100E into
the marketplace and the
camcorder was put to the
test by Colin Riddle, MD of
Enigma Video.
THE BENEFITS
After discovering the 16:9
(squeeze) setting, we were
astonished at the results.
The picture quality using just
the factory defaults and with
only a very rough set up were
superb. Colour balance,
saturation, exposure and
shadow detail were well
above expectations. As was
the ability of the auto iris
to cope with the erratic
movements of the follow
spot operator!
Colin’s particular
likes about the
GY-DV5100
Some sound reasons for selecting this
new Professional DV camcorder:
●
24-bit digital signal processor
●
12-bit analogue to digital converter
●
Built-in thermostat to automatically
release tape tension whatever the
ambient temperature
●
Active /mechanical “Sweeper heads”
to minimise head clog
●
Dual rear-mounted XLR audio
connectors
●
Excellent reproduction of skin tones.
●
New multi- select detail enhancement
and colour matrix circuit
●
Simple, intuitive and user-friendly
menu system
●
Direct docking to hard disc recorder
Colin Riddle, MD of Enigma Video operates the GY-DV5100E camcorder
Photograph courtesy of Eddie Davis Junior
JVC’s evolutionary approach
to camera development
has meant that all controls
and user operations were
familiar. The menu system
was a particular joy as it
is simple to use but
sophisticated enough for the
most demanding operator.
Because the camera was
hard wired into a production
mixer we were able to play
back the recorded pictures
onto the plasma screens. It’s
no exaggeration to say that
none of the techie people
there for the fit up could
tell the difference between
Our
clients
were
so
impressed by the way the
presentation
went
in
rehearsal that they asked
us to provide another two
plasma screens at short
notice, and asked us to
do an extra night in the
marquee for a Tsunami
benefit concert. Texaco
underwrote the whole event
and it was a sell-out and
raised over £27,000 for
charity. Phil Thompson,
Texaco Pembroke refinery’s
PR manager told us all
the events had been a
great hit and that the video
presentation was central to
its success, adding that the
feed-back from the guests,
particularly the retirees, had
been very positive. The
quality of the presentation,
he said, had exceeded their
expectations. The refinery
manager, Des King, who
featured in the live feed was
particularly complimentary;
he told us that he was
delighted by the high
quality of the pictures and
the slick presentation. Praise
indeed! We have used JVC
professional cameras for
about twenty years now and
they just get better all the
time. As a small corporate
video producer we have to
be very careful with capital
expenditure on hardware
and we have stuck with
JVC cameras for three very
good reasons, One, they
turn in consistently high
quality images in every
conceivable condition. Two,
they are rugged and reliable,
and three they are without
a doubt feature for feature
the best value for money on
the market.
NEWSINBRIEF•NEWSINBRIEF
Olympian role for GY-DV300
As part of an initiative of The Future Skills Group and Yorkshire Forward,
a flagship regional development authority, a group of film crews manned
by UK Guides and Scouts took GY-DV300 streaming camcorders to
Moscow (Korelov) to film the 11th International Space Olympics. This
group’s job was to observe the activities at the Olympics and to make
a video about their trip. Included in the itinerary was a trip to Mission
Control Centre, meeting Russian
cosmonauts, a tour of the Kremlin,
the opening of the Space Olympics and
the Olympics themselves. The
GY-DV300 Streamcorders were
fundamental to this programme as
the footage was to be streamed
via the Future Skills Group TV website.
Professional DV for
new University studio
One of JVC’s most popular Professional DV
camcorders continues to be selected by
universities and colleges throughout the
country. Most recently, as part of its
€33 million investment in new buildings
and state-of-the-art equipment, Newcastle
College has developed a new studio
production facility to improve the provision
for media students. Central to this new
facility is a studio which houses several
GY-DV550 and GY-DV700 camcorders.
The production suites themselves
accommodate a combination of BR-DV6000 recorders and SR-VS30
dual decks, to give maximum versatility and tape-based transfer
capability between formats and for various presentation scenarios.
Streaming his way to a
commercial future
Alistair Adair, a 4th year B.Eng Multimedia student
from Napier University in Edinburgh invested in a
GY-DV301 camcorder and network pack to prowl
the thronging streets at the Edinburgh Festival,
offering visitors the opportunity to send a video
postcard straight from the camera to any email
address in the world!
A live footage was beamed directly to a nearby remote laptop programmed with
a showcard front page format. Each showcard took no more than 15 minutes
on average – from the start of the shot to the email and attachment being sent.
As a result of the showcard project, Alistair has formed a successful new-media
company ShowStream Productions Limited and is using streaming media and
the GY-DV301’s MPEG4 streaming functions extensively.
Top Honours with JVC
Two Film & TV Studies undergraduates from
Roehampton University won top honours in
a university-run award, for their 20 minute
graduation documentary programme The
Real Marty, in which they tackled the
difficult subject of schizophrenia. This
programme was shot entirely on GY-DV500
Professional DV camcorder and has gone
on to win a prestigious award for the Royal
Television Society.
Commenting on the documentary Peter Merton the head of the University’s
TV Unit found it noteworthy that this programme had just a crew of two. So
it took a lot of careful organisation and a camera that they could use easily
and rely on to give them the sort of award-winning results that they achieved.
HIGHWAY
A Model
Camera
Compact design for
optimised usage
that the DR-HD100 can
be connected directly
to the NLE and will
appear
simply
as
another media drive
on the system. This
material
is
then
immediately available
for editing with no
capturing, no transfers
or file conversions. It
really is ‘plug and play’.
The pull-out centrefold in this
magazine shows just how
beautifully sized it is. But it is
only by trying the real thing
that you will get hooked by
its feel The reaction from
everyone, irrespective of their
size, shape and gender, who
has tried the camcorder so far
is the same. They find that it
fits so easily and snugly on the
shoulder, that it is easy to
manage with all the controls
exactly where they should
be and, above all, that it
is extremely comfortable. In
fact, a large contributor to
the comfort factor is the
cushioned audio monitoring
earpiece which allows the
side of the camcorder to be
gently steadied against the
side of the head.
The latest JVC ProDV
and ProHD camcorders
have the capability to
accept
an
optional
Hard Disk Drive that
can be docked directly
to them. This can be
configured to shoot
video (i) directly to the
disk, (ii) simultaneously
to tape and disk for
backup
or
(iii)
in
sequence, where the
disk drive will take over
recording five minutes
from the end of the tape.
With the GY-HD100 this
facility is fully provided
on the DR-HD100 hard
disk drive. Developed by
Focus Enhancement for
JVC this drive allows
the camera operator
to record to tape as
they have always done,
but additionally gives
them the opportunity
to record to hard disk
simultaneously.
What provides the real
key to the success of
this technology is that,
when the material is
recorded onto the hard
disk, the format can be
chosen to suit the editor
that will subsequently
be used. Not all non
linear editors use the
same file format to
store media and the
DR-HD100
provides
the flexibility to tailor
the recording so that,
if the editor in question
is using an AVI type1
file then this file type
will be recorded onto
the disk at the time
of capture. This means
Connection is convenient
with a single IEEE 1394
cable carrying video,
audio,
control
and
timecode information.
The DR-HD100 drive is
small – only 1.5" thick and weighs less than 1lb.
It can be fitted onto the
camera head via a hot
shoe adapter or can be
clipped to a belt around
the waist.
It can be configured with
either a 40GB disk for
3hrs of standard DV
recording or with 80GB
for up to 6 hours
recording. Of course,
the DR-HD100 can also
be used in other modes
such as user definable
time lapse or to provide
a 10 second retro cache
to ensure that a shot
is never missed.
In essence the design of the
GY-HD100 is a miniaturised
version of a traditionally large
shoulder camcorder. It sits
comfortably on the shoulder
and is just heavy enough to
be stable, yet at 3.1kg it is
light enough also to be
carried easily and moved
around by its fixed carry
handle to get those more
interesting camera angles.
Such
shooting
off-theshoulder is made possible
by the rotating 3.5" LCD
viewfinder panel.
JVC fully acknowledges
that
professional
video
camerawork is no longer
a “male preserve” but
increasingly is being carried
out by ladies who usually
need the choice of a more
lightweight system. Hence
the desire to produce a
camcorder that fulfilled two
key design objectives of
being, on the one hand truly
professional and on the
other, being of a size and
weight to be handled easily
by almost anybody.
For analogue inputs a Component
Video input can be provided but
improved quality can be achieved
using a Digital interface.
HDMI-HDMI Cable
It comes in two varieties:
In conjunction with the
JVC GY-HD100 the
DR-HD100 hard disk
recorder really does
provide the answer to
compact and convenient
High Definition recording
and editing.
DVI-D Digital video only
Audio handled separately
DVI-I Digital and Analogue
Video Audio handled
separately
JVC and FilmLight
showcase a digital
film grading system
A fully functional and flexible
demonstration system is
available for new and potential
post production customers.
A JVC DLA-HD2K projector
has been installed in a digital
film grading and workflow
demonstration suite at the
London premises of FilmLight,
a world-leading pioneer of
digital film technology. The
system is being used by
both JVC and FilmLight to
demonstrate to potential
customers post production and
colour grading equipment.
The grading suite is typical of
the size in use in the post
A Baselight grading and
finishing system is directly
feeding the projector using a
DVI signal providing real-time
operation at resolutions of
up to 4k. The system includes
FilmLight’s TrueLight 3D colour
management system, ensuring
accurate representation of the
final look on film.
An Information Resource
To access more information on all ProHD products
visit www.ProHD.net and register to keep
yourself up to date.
HDMI Connector
JVC has published a booklet which explains the
nature of D-ILA technology in general terms and
as it applies specifically to the current SX21 and
HX2 models, which use the 1400 x 1050p D-ILA
chip. You can obtain a copy of this compact
24-page booklet by writing to JVC Professional
Europe Ltd., at the address shown below or e-mail
to [email protected]. In both cases state
“SX21 Product Guide”.
You can request information on any other JVC
Professional products by e-mailing your request
to [email protected]. When responding
please advise wether you would like to be added
to our postal mailing list and submit your address
details accordingly.
List of editorial staff
Editor:
John Carpenter
Staff writers:
Nick Fletcher
Ian Nicoll
Tom Willatt
HDMI-DVI Adapter Cable
Contributions from:
Farah Jifri,
TV Technology Europe,
Colin Riddle,
Enigma Video
Photo extracts by:
Ingo Espenschied
Jean Christophe Albou
Designed and printed by:
Handscombe Biss and
Associates
Published by:
JVC Professional Europe Ltd.,
Ullswater House
Kendal Avenue
London W3 0XA
England
Tel: +44 (0)20 8896 6000
Fax: +44 (0)20 8896 6060
It is compatible with DVI, and
HDMI to DVI adapter cables
are available.
But the preferred method will
be HDMI/HDCP (High Definition
Multimedia
Interface/High
bandwidth Digital Content
Protection). HDTV will use less
than half of HDMI available
5Gbps bandwidth. With capacity
to spare, HDMI can incorporate
new technology advancements
and capabilities long into the
foreseeable future.
industry, being approximately
25ft by 15ft. Images are
projected on to an 8ft wide
screen. A wide selection of
feature film projects that have
been graded on Baselight
are used for demonstration
purposes including digital
footage from ‘Cold Mountain’.
A variety of information including JVC professional
product news, specifications, technology white
papers and downloads of software for imaging
and network cameras can be accessed by visiting
our general website at www.jvcproeurope.com
Make new
connections
DVI (Digital Visual Interface) is one
option which with a maximum
bandwidth of 165MHz is suitable
for UXGA and HDTV.
15
In which case audio would have
to be handled separately as DVI
only carries video.
HDMI combines Video and
Audio in one multi-core
cable for convenience of
connection and is already
provided as standard on
JVC’s ProHD BR-HD50E
Recorder/Player.