Focus On Affordable HD: JVC GY-HD250

Both the JVC GY-HD250U camcorder reviewed here and the GY-HD200U camcorder include a Fujinon Th16x5.5BRM lens, a color viewfinder, monaural microphone, and an SD memory card. JVC has created an optional lens adapter, the HZ-CA13U, which enables the use of 16mm film prime lenses that have a PL (Positive Lock) mount.

Shooting 60p has two unique advantages. First, it captures high-speed motion far better than 60i because it lacks interlace artifacts. That makes 60p ideal for shooting sports and news. Second, in my opinion, at this frame rate image flow begins to match our vision system's natural flow. Therefore, 60p (and 50p, for that matter) creates an experience of “reality.”

Of course, the proof of any camera's merit is in its output, and the 60p video that I captured with the new JVC GY-HD250 looked perfect when I burned it to 25Mbps red-laser HD disc and played it on a Toshiba HD-A2 HD DVD player. My aesthetic preferences for 60p aside, there is science behind the format that helps explain the characteristics of this particular flavor of video. We'll look at some of that later in this review of the native 720p camcorder.

JVC has implemented 60p in both the GY-HD250U camcorder that I tested and the GY-HD200U camcorder. Building on the “compact shoulder” form factor of the GY-HD110U, both the HD200 ($8,995) and HD250 ($10,995) feature a large set of functions not available on the HD110. These include a 14-bit A/D converter; wideband analog front end (greater sensitivity with lower noise); advanced DSP; white-shading adjustment to compensate for differing lens characteristics; analog component (4:2:2) 270p50/720p60 output from the camera section; and ultra-efficient MPEG-2 encoding to support 50p and 60p. There's also built-in image horizontal/vertical flip when using prime lenses, HD/SD-SDI output of 720p60 and 1080i60 from a built-in cross-converter, enhanced Cine Gamma, BNC connectors, a six-pin remote control connector, and a Pro Anton Bauer battery mount (battery and adapter not included).

To these additional functions, the HD250 adds HD/SD-SDI output with embedded dual-channel audio and timecode that supports Varicam flags (HD mode only), a switchable genlock or composite AUX input (for an SD pool feed), timecode input/output, studio capability with the optional multicore adapter, and tripod plate with mount.

Both models include a Fujinon Th16x5.5BRM lens, a color viewfinder, monaural microphone, and an SD memory card. For those planning to purchase a Fujinon HT18x4.2BRMU lens, the HD250 can be purchased without a lens for $8,995.

Especially for use with the HD200 and HD250, JVC has created an optional ($4,395) lens adapter, the HZ-CA13U, which enables the use of 16mm film prime lenses that have a PL (Positive Lock) mount.

Figure 1: During 24p recording, six frames are encoded into one GOP. Then one or two Repeat Flags (RF) are inserted between each encoded frame. The pattern by which the frames are generated is a familiar one—2:3:2:3.
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The HD250 is compact (8.96"×9.69"×16.04") and weighs only 8lbs. with lens, viewfinder, mic, battery, and tape. The included viewfinder has twin adjustments: It can slide left or right, and the eyepiece can slide in and out. The VF has a 230,000-pixel color LCD. The flip-out 3.5in. LCD provides 250,000 pixels.

The HD250 shares basic audio functions with its predecessors, the HD100 and HD110. A pair of XLR connectors is available for the input of mic level (switchable between -50dB and -60dB) with or without +48V phantom power and line level (+4dB). You can switch between two audio modes — individually for each input. One mode provides full manual control with no limiter. The Auto mode only engages a limiter.

The HD250 also shares a set of video functions with the HD110. A complete set of camera controls are provided: 1/4 ND, 1/16 ND, 30p/60p shutter speed (1/7.5 through 1/1000 plus variable), 24p shutter speed (1/6 through 1/1000 plus variable), zebra on/off, timecode display (TC/UB), timecode control (FREE, REC, REGEN), status display, audio monitoring, and full auto (auto audio, auto gain up to the ALC limit, auto exposure, and FAW that provides full-time auto white balance).

The HD250 can accept a 1/3in. interchangeable lens directly or, via adapters (not included), either a 1/2in. or 2/3in. lens. The 16X Fujinon Th16x5.5BRMU, which has a zoom range of 5.5mm to 88mm, is bundled with the camcorder.

JVC sent me a far more expensive ($10,800) lens with the HD250: Fujinon's HT18x4.2BRMU that has a 4.2mm to 76mm zoom. Over the zoom range, the maximum f/stop is F1.4. However, the T-stop (actual light transition) is T1.5 over the entire zoom range. In macro mode, the minimum object distance drops from 0.6m to 0.05m.

The manual zoom was smooth, and variable-speed electric zoom offers a speed range from 0.7 seconds to 70 seconds. The manual iris was very precise. I found that I could achieve spot-on exposure by momentarily pressing the AE button on the lens.

There are two modes of Focus Assist: Normal and Accu-Focus. When either is activated, the picture in the viewfinder becomes monochrome and all objects that are in focus take on a color outline. Normal FA is not always useful. For example, as you zoom wide and depth of focus naturally increases, almost everything becomes outlined in color. While the indication is valid, as a subject moves, he or she may stay in focus or slip out of focus. In Accu-Focus mode, the lens iris auto-opens for 10 seconds. During the period, depth of focus is made shallower so you can focus more accurately.

JVC's HSTR (high-speed twin-readout) CCDs are used in the HD250 to capture 720p60 video. The three FIT CCDs each have almost 1.1 million pixels. The GY-HD250's sensitivity is F8 at 2000 lux.

Although the GY-HD250's CCDs and DSP are very sophisticated, they are very simple to understand. That is because they provide the 1280×720 CCD resolution that is exactly equal to the resolution of the 720p recording format.

Figure 2: The bit-rate reduction ratios (compression) for all types of ProHD are lower than for ATSC HD video.
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Obviously, the key feature of the HD250 and HD200 is their ability to capture 24p, 25p, 30p, 50p, and 60p. Each of these frame rates operates slightly differently, so we'll next review the modes.

During 24p recording, six frames are encoded into one GOP. Then one or two Repeat Flags (RF) are inserted between each encoded frame. The pattern by which the frames are generated is a familiar one — 2:3:2:3 (see figure 1). The recorded timebase is 720p60, although only 24 video frames are encoded and recorded to tape.

Unless you want a motion judder effect or are shooting for the Internet, there are few, if any, reasons for shooting 30p now that 60p is available. Of course, in Region 50, 25p is used when video will be transferred to film.

In 720p60 mode, 12 frames are encoded into one GOP. The recorded timebase is 720p60. When the tape is played, each frame is decoded and output. Upon capture via IEEE 1394, your NLE stores 60p video to disk.

The HD250 can shoot 4:3 or 16:9 480i60 DV. You can also shoot 2:3:2:3 pulldown (DV-24P) or 2:3:3:2 pulldown (DV-24PA).

Both 50p and 60p use 12-frame, closed GOPs. Because the amount of information is double that of 720p25/720p30, there was concern there would be an increase in MPEG-2 artifacts. To prevent this, JVC developed its Super Encoder.

After capturing 60p using Avid Liquid 7.1, I made a 25Mbps red-laser HD disc and played it on my Toshiba HD-A2 HD DVD player. I saw only perfect video, and I have read no reports of increased artifacts. As you can see in figure 2 (p. 30), the bit-rate reduction ratios (compression) for all types of ProHD are lower than for ATSC HD video.

When you attach a lens converter (such as the Mini 35 from P&S Technik) to a lens mounted on the camera, the converter flips the image vertically and horizontally. Reverse Picture mode flips the LCD and viewfinder image, but not the recording. Flip mode, on the other hand, flips the LCD and VF image as well as the recording.

Both the camera section and VTR can output 4:2:2 video via analog component output and, simultaneously, via an HD/SD-SDI port. The HD/SD-SDI signal has embedded dual-channel 48kHz audio as well as timecode data that supports Varicam flags. You can enable status character overlay on either or both the analog component output and the HD/SD-SDI output.

The camera section can output a signal when it is not recording HDV. The signal can be upconverted to 1080i using the high-quality built-in scaler. When outputting live 24p, 2:3 pulldown is added.

With the KA-HD250U studio adapter plus the VF-P400 4in. 16:9 viewfinder, the JVC GY-HD250 becomes an HD studio camera that is appropriate for educational, religious, cable, and broadcast studios.

When you play back any HDV recording, the signal can be upconverted to 1080i using a high-quality scaler. When outputting 24p HDV, 2:3 pulldown is added.

Turning on Cinema mode automatically selects Color Matrix and Gamma. Once this is enabled, you cannot make adjustments to Color Matrix or Gamma, because they have been preset. This mode is not intended for transfer to film. The gamma curve is slightly flattened and color saturation is reduced.

The HD250 can easily be converted to a cost-effective studio camera with the KY-HD250 studio adapter. The camera's optional CCU (camera control unit) provides connection to industry standard 26-pin multicore cabling for power, genlock, R/B gain, black level, and intercom.

JVC press releases call the GY-HD200 and GY-HD250 “revolutionary” — an assessment I fully agree with. At last, we HDV shooters have the opportunity to shoot progressive video at 60fps. For the GY-HD250, I would add an additional word to “revolutionary.” The word is “workhorse.”

The HD250 can, as does the HD110, shoot 24p for indie films and film-look commercials. But, with 60p, the camcorder is perfect for HD ENG and shooting documentaries. However, with the KA-HD250U studio adapter plus the VF-P400 4in. 16:9 viewfinder, the HD250 becomes an HD studio camera that is ideal for educational, religious, cable, and broadcast studios.

Steve Mullen owns Digital Video Consulting (www.mindspring.com/~d-v-c), which offers eBooks on HD production.

Although the price performance trends in HDV and other affordable HD formats have been remarkable, none of these groundbreaking options are truly inexpensive. Enter the new Sony HDR-HC3 HDV 1080i Handycam camcorder at $1,499.

Sony considers the HC3 to be aimed at the consumer market rather than professional — but, as is the case with some other products, that determination may be in the eye of the user. Of course, at $1,499 MSRP, the price tag is really in the “prosumer” zone. The bottom line for professionals is: What can you expect from this camcorder as opposed to, say, the Sony HVR-A1U for about $2,500? Of course, besides comparing physical variables such as imaging chips and lens optics, there's the intangible factor of the shooter's skill and the definition of “useable footage” as dictated by the application and deliverables. There will be applications that suit this camera; there will be situations where, at its best, the camera cannot deliver the necessary image quality. But in general the blurring of the line between pro equipment and consumer product is to the benefit of the savvy user — especially in our multi-platform media culture.

How does the HC3 measure up? After pounding on mine for a while I found that it can be an appropriate entry point for HD, with caveats. To read about the benefits, surprises, and compromises of this camcorder, go to digitalcontentproducer.com/cameras/revfeat/sony_hc3.