Shoot Review — Sony MSW-900

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IMX camcorder captures subtle detail and smoothesworkflow.

A boon for high-end workflow, the IMX format of the Sony MSW-900means that the camcorder's footage transfers between IMX servers andVCRs at rates faster than realtime.

I don't think it's my imagination, but I'm suddenly seeing awhole lot more of Sony's new IMX format on television productionsaround town. One look around the sets and locations of NBC's FearFactor and MTV's The Real World confirms the arrival of theMSW-900, a serious new IMX-based camcorder, in what has been staunchlyanalog Betacam SP territory for years.

Wexler Video, a major rental facility in Los Angeles, reports a neartotal migration to the IMX format among its reality program-basedclientele. One likely reason is a simple matter of production workflow.The efficient format offers faster-than-realtime transfers in PAL andNTSC between IMX servers and VCRs. The format also supports thetransfer of files via MXF files, a boon to reality-show producers whorequire editorial teams (typically consisting of twenty editors ormore) to execute multiple operations simultaneously.

From a shooter's perspective, the MSW-900 is a lightweight androbust ENG/EFP camcorder that fits nicely into this new and enhancedworkflow. The efficient MPEG-2, 50Mbps, 4:2:2 system underlies thecamera's other compelling advantages for the pro-level shooter andcraftsman.

At the basic level, the MSW-900 is a camcorder with three 2/3in.CCDs that offers true 16:9/4:3 capability in both progressive 30p andinterlaced 60i modes. The camera's high performance may be attributedin part to Sony's latest-generation Power HAD EX CCDs. The new chipsetin itself ought to make the camera of significant interest tohigher-end ENG and “reality show” shooters.

I recently put the MSW-900 camcorder to work on a challenging shootfor St. Joseph Communications of Tehachapi, Calif. Entailing a seriesof low-light interviews inside an historic chapel, the projectdemon-strated admirably the superior imaging capabilities of the newIMX model.

Looking at sheer performance, the camera's low noise and highsensitivity allowed for a more natural and balanced lighting strategy.The weak daylight seeping through the ornate stained-glass windowsprovided the reference for illuminating the interior of the chapel. Itwas apparent from the first setup that the MSW-900 had an extraordinaryability to capture subtle detail in the chapel's deep shadows. The newPower HAD EX CCDs were certainly one reason. Another: the MSW-900'simproved 12-bit A/D quantization, which translates directly into moreaccurate sampling of the inputted analog signals.

In this respect, the MSW-900 reflects the recent trend in camcorderstoward greater bit-depth A/D sampling. Shooters understand that NTSC islimited to only 8 bits per channel, so how a camera handles theplethora of additional data is a vital concern. In models that employsuch oversampling (256 possible values in 8-bit models vs. 4,096possible sample values in 12-bit systems), a dramatic improvement inhighlight detail may be seen as engineers infuse the 12-bit data intothe compressed 8-bit NTSC stream. But bear in mind that in the land ofcamcorders, greater bit-depth sampling does not necessarily equalsuperior images. For instance, the 8-bit Sony DSR-PD150/170 regularlyoutperforms other DV models with greater bit-depth sampling. However,the improved DSP in the MSW-900 contributes noticeably to enhancedimages across the board, as Sony engineers have managed to retainconsiderable benefit from the more accurate sampling.

The efficiency of the MSW-900's latest-generation processor isreflected in the camera's ability to reproduce skin tones faithfully indeep shadows. Sony attributes this enhanced capability to itsproprietary Tru-Eye technology, which compensates for the distortioncaused by uneven compression in the individual red, green, and bluecolor channels. Owing to the preponderance of deep shadows inside thechapel, this feature was of particular interest to me because unevencompression here can lead to a noticeable red hue shift in theflesh tones. The MSW-900 exhibited no such misbehavior. Indeed, it'sreassuring to see Sony addressing this crucial issue that has plagueddigital video shooters for most of a decade.

Every digital shooter worth his lens cap knows that overzealouserror correction is an occupational hazard. The truth is thatmanufacturers often turn to greater error correction or detailas a crutch in order to increase the apparent sharpness ofimages degraded by artifacts. These artifacts are often, at least in myexperience, a consequence of inferior, lower-cost optics that lackcontrast and resolution.

I immediately recognized the inherent value of the MSW-900'sElectronic Soft Focus, which doesn't simply turn down (or off) thedetail “correction,” as is the case in other cameras.Rather, it subtracts the detail signal from the original“uncorrected” image. In this regard, the MSW-900's ESFfeature is a breath of fresh air, and some shooters may well opt toforego a physical diffusion filter altogether. This could be anadvantage to harried ENG shooters who might not always have theappropriate filter type or grade on hand.

The ESF feature may also be of value to producers looking ahead toDVD output; the slight softening of an image's hard transitionboundaries is helpful later in facilitating further MPEG-2 compressionto DVD-compliant streams.

Precise image control is the hallmark of the MSW-900. The camerafeatures a digital color temperature adjustment that permits shootersto add desired warmth to a scene in tiny increments. For shooting inextreme low light, the camera also sports a +48dB Turbo Gain that canbe engaged with the touch of a button. No drilling down through myriadmenu panes. The MSW-900's advanced features are well thought out— and they are accessible.

My experience with the camera revealed a very quiet audio section,which means far fewer gripes and much happier faces from my usuallyobstreperous sound team. Up to four channels of audio can be recordedin either 20- or 16-bit resolution modes; the camera's pots and preampsdon't display a hint of the noise that we sometimes see in othercamcorder models.

The MSW-900 IMX camcorder is intended as Sony's digital heirapparent to the former analog Betacam SP dynasty. For me, the camera'scompact and lightweight form — under 12lbs. with the stockBP-L60A lithium — is a great facilitator of creative work and awelcome respite from the weighty behemoths of old. The IMX format'sone-hour camera loads are also extremely convenient for those of usaccustomed to (more or less) industry-standard half-hour cassettechanges.

I have one reservation regarding the MSW-900: its lack of 24pcapability. In today's tough economic times, shooters investing in a$40,000 camera ought to have the option of handling a wide variety ofprojects and assignments. The use of the MSW-900 in reality-typeprogramming reaps many real benefits, from an enhanced postproductionworkflow to the robustness of the tape stock itself. These benefitsnotwithstanding, ancillary uses of the camera by independentfilmmakers, for example, are severely limited without the 24p option.Output to DVD is particularly impacted, as the many advantages of anall-24p workflow cannot be realized.

For more information, visit www.sonympeg-imx.com. MSRP for the Sony MSW-900camcorder (body only) is $39,095.

Barry Braverman is a 23-year veteran cameraman.

Company: Sony Park Ridge, N.J.; (201) 930-6000 http://bssc.sel.sony.com

Product: MSW-900

Assets: MPEG-based IMX format speeds postproduction; 12-bitA/D sampling enhances images; faithful reproduction of skin tones;Turbo Gain for low light.

Caveats: No 24p capabilities.

Demographic: Those shooting “reality”-styleprojects and higher-end ENG.

Price: $39,095 for body only.

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