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HL-DV7W |
HL-DV5 |
Roger's Thoughts on the Ikegami HL-DV7W
Probably the best value in digital camcorders today, in my opinion
and that of quite a number of our clients, is the popular Ikegami HL-D7W
DVCAM camcorder. Made with Ikegami's typical high quality construction,
it has proven to be reliable and rugged enough to handle the rigors of
everyday field use. It has the heft and feel of a HL-V55 or BVW-D600
camcorder and shares the same lenses and batteries. The camera uses
three 520,000 pixel CCDs with about 800 lines of horizontal resolution
with a f11 @ 2000 lux sensitivity. That low light sensitivity is a great
improvement over the older Betacamcorders.
The feature I like the best is the similarity of the camera alignment
menu system throughout the complete line of digital cameras, from the
HL-DV7 to the top of the line, high definition cameras. With older
analog cameras, there was no easy way to adjust camera parameters
without oscilloscopes, extender boards, and a thorough knowledge of
video camera alignments. With digital video cameras, experience is still
necessary for the initial set-up of preferred base settings and lens
file creation. But now the videographer can make use of the myriad of
optional camera parameters that can be used to improve the look in
difficult lighting conditions or with creation of
individual specialty looks. Controls for camera parameters are available
with the use of rotary dials, so no expensive remote control box is
needed.
Functions like skin detail, soft detail, black stretch or press,
scene file control, auto & manual knees, iris correction, aspect ratio,
and electronic 5,600k filter are available through the use of a simple
P-function (personality) push switch. Skin detail allows for reduced
detail in flesh tones. Soft detail switches on circuits that can clip
off the extremes of detail enhancement to reduce or eliminate the hard
video edges, can create a more film-like look. Black stretch improved
low video level brightness, while black press reduces it. Scene files
can be switched. White compression or knees can be switched from auto to
manual. Iris correction allows for over or under auto iris. Aspect ratio
switches between 16:9 and 4:3 mode. The electronic 5,600k correction can
be switched on to eliminate the loss of sensitivity that you get with
the optical internal 5,600k filter. Dawn or dusk never looked better.
These items along with all the other alignments and switches are also
available in a series of menu pages visible in the viewfinder.
Just as with most high-end digital video cameras, you, as an
operator, can make adjustments and, if desired, save these settings for
future use in one of its eight different scene files. With the use of
removable Smart Media memory cards, it is possible to save a number of
sets of scene files. These can simply be read back into the camera's
internal scene files as needed. I have not yet found the limit on how
many sets can be stored.
Lens files are another feature of this camera that you would expect
on only the most expensive of video cameras. As most of you probably
know, lens models differ in a number of ways. Flares, preset color tint,
and white picture shade vary from lens to lens. Once the camera and
lenses are purchased, a qualified video engineer must set-up these
parameters with the use of calibrated light sources, charts, and
monitoring test gear. These are then saved to one of eight, named lens
files in the camera head memory. This assures the best possible pictures
no matter what lens you switch to. By the way, all quality broadcast
cameras have at least one setting for flares, shading and presets that
should be calibrated to obtain optimal picture quality.
An emergency external reference switch is provided to return the
camera back to either its proper engineering or factory set-up. A second
and better way is to perform a full data load (scene, lens, reference,
and menu files) from set-up card to camera. This feature allows you to
make big mistakes while learning to use the camera and restore it back
to square one.
Our standard maintenance camera set-up includes creation of lens
files for each client-supplied lens, and setting up the base look of the
camera to our popular Macie Uniform Standard. We also program a warm
look, film look, and a variety of looks to deal with high to low
contrast lighting situations, along with a standard Ikegami or Sony
factory matrix setting for matching other non Macie set-up cameras. Our
color saturation is higher than the average factory set-up camera and is
warmer too. When completed, all files are saved and backed up on the
removable memory card. A variety of scene files are also available to
deal with florescent lighting as well.
This camera also has a few options such as a second rear mounted
headphone jack, Sony tripod plate mount, and 26-pin component output
jack. It also has a slot for an inboard mounted radio mike receiver.
This is the first time I have ever touted any video product in my
newsletter, but I just can't help it. Just ask any owner of a HL-DV7 and
I'll bet you'll get the same response. FYI - Ikegami's HL-DV5 is the
same as the HL-DV7W in every way except that the HL-DV5 is 4:3 aspect
ratio only, whereas the HL-DV7W is switchable - 4:3 and 16:9.
Take care,
Roger |
