Hd100 Wishlist

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dashwood

Well-known member
Last week when I exchanged my HD100s at JVC HQ in Toronto, I had a chat with the GM of Pro Sales for Canada. I told him some of my woes with the camera and wishes for a firmware update. He asked me to please write it all down and send him an email because he is in constant contact with the engineers in Japan.
They designed this camera based on suggestions from working cameramen, so it stands to reason that JVC wants as much input as possible from the end users.

I just sent the email with my top-10 firmware wishlist, and then I thought that maybe I should post it and ask if anyone else could think of any other ideas (within reason for a firmware update.) I'll send the link for this thread to JVC if anyone comes up with anything else. Please don't bother posting frivilous posts about the split-screen problem. There are a multitude of those on other threads and JVC are well aware of that problem!

Here's my [size=+1] top 10 most wanted firmware updates: [/size]

  1. LCD & EVF active at the same time option. This would be ideal for shoots with a 1st A.C./focus puller. The operator could use the EVF, and the focus puller could keep an eye on the framing with a flipped backwards LCD. I know it would draw more juice, but I think that any pro user is going to go with the AB or IDX battery solution.
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  2. TC SLAVE ability via FIREWIRE. DV TC can be slaved for recording backups (TC DUPLI.), but I would like to be able to jam code for a two camera shoot (including my 3D setup I will explain later.) Another idea might be a menu option to route TC IN and OUT to the YB or YR jacks?
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  3. TC PRESET & LOAD SCENE FILE shortcuts assignable to USER BUTTONS. I find that I spend too much time going into the menus for common things like preset TC.
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  4. Quicker RESET of TC and an auto hour advance feature. Currently, once I navigate to the TC/UB/CLOCK menu, I need to press the selector 5 times and then scroll down 2 times just to get to ZERO PRESET. On most professional cameras there is a physical button to reset the timecode quickly. I also think it would be handy to have a function to automatically advance to the next TC hour when a new tape is inserted. This could be part of the HEADER REC function.
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  5. Higher bitrate recording to external HDD device. The HVX200 and XL H1 are offering the ability to record outside of the HDV spec. I would love this ability for green screen compositing work. It would be great if a HDV version could simultaneously be recorded to tape.
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  6. 720p60 capture. I love the ability to capture at 60p for "overcranked" slo-mo - however I wish it didn't have to be in 480p! This feature would also silence the proponents of the 1080i "reality" look. It would also open the camera up to sports broadcasters like ABC and FOX who broadcast in 720p60.
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  7. Custom positionable burn-in TC only on video out. When I'm shooting I need all of the display information in the EVF, but director and continuity person only need to see TC - not a cluttered mess of displays.
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  8. HDV to DV firewire downconversion. I would like to be able to "offline" with the DV codec on post systems that may not have HD capabilities. This would help bridge the gap for early adopters who want to shoot HD now for archival purposes, but use their legacy post-production gear to edit the material in NTSC or PAL.
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  9. VERTICAL FLIP Option for LCD and EVF. Many people are designing homemade versions of the P+S Technik "mini35" without conversion prisms. The resultant image is of course upside down. The common solution on most cameras is to add a magnet to the LCD to trick it into reverse mode. This is fine for shooting, but the footage still needs to be flipped in post. Obviously the electronics of the camera can do the flip, but it would be great if it was a user selectable option for recording to tape. BTW, I noticed that a LEFT/RIGHT LCD flip option is available in the advanced menu.
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  10. Better representation of 720p24 frame rate while shooting. I find that the motion of the live output when shooting seems to be at a higher frame rate than 24fps. It almost feels like the live uncompressed output is actually 720p60 without pulldown. Everything looks very filmlike once you digitize the HDV footage, so I'm not sure exactly what is going on here.

Hardware wishlist:
  • JVC hi resolution B&W viewfinder add-on. I know it would probably be expensive, but I would feel better knowing that I could buy a 720p EVF if I wanted.
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  • Firewire to HD-SDI, TC, RS-422 converter box. I don't know if such a thing exists, and it would probably hurt the sales of the BR-HD50U deck, but I still think it would be cool.

And now to my software wishlist (for JVC and APPLE):
  • SCENE FILE MANAGEMENT TOOL: It would be great to have an application similar to Nikon's "Capture Control" for the D70 that would allow upload/download of custom gamma curves. It would also be great if you could visualize the resultant gamma response curve on a graph as you live control the camera gamma/matrix settings remotely via firewire.
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  • LOGGING & DIGITIZING APPLICATION: I would like a simple application that could display and capture the HDV stream (with TC) to a powerbook via firewire (triggered REC by the camera) while the 2nd A.C. can simultaneously log each scene/take, "circle" takes, or make log notes. The resultant logs and files could be directly imported into FCP and printed on a portable printer to look like standard Lab camera reports. An application like this would create a very efficient workflow. There is a similar application for windows called "DVRack," but it seems to cater more to video engineers and D.P.s than camera assistants or assistant editors.
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  • Update to Final Cut Pro 5. I know this one is on its way, but I hope they are able to automatically remove the pulldown frames during capture. Also, I hope they intend to support capture of the 480p60 and 576p50 HDV formats.

That's all I can think of for now.

Tim
 
JVC is aware of the camera's split-screen problem, I am sure, but the malady is hardly a minor one - its a big ol' elephant sitting in the living room.

The one camera that seems to meet my needs best is the JVC, and despite that I wouldn't possibly consider buying one until ALL split-screen problems are ironed out on every model issued to the public - which seems not to be the case at all.

I think JVC should know much it spooks otherwise very interested buyers away - especially with the new Cannon and Panasonic comming down the pipe...

This is especially true as JVC, to my knowlege (please correct me if I am wrong), has not issued any press release about their plans to rectify this deal-killing flaw. Even an acknowlegement of the problem and what JVC is doing to solve it sure would be nice...

Believe me, I want very badly to read this forum next week and find that JVC has issued a statement (which is then backed up by reality) that there were minor flaws - but are now fixed.

I hope that new + current JVC buyers continue to post their positive/negitive feelings about the camera - particularly the ones regarding the existence of a split-screen effect. Here's hoping it all gets worked out for the best, and soon --- Panasonic and Cannon are comming..... And they look mean. John Vincent

PS - Tim Dashwood's been doing great postings and the tips are appreciated - thanks Tim and keep up the good work
 
I just got my HD100U today, and as soon as I started to set it up I came across virtually all of your items! Especially the TC reset.

That's got to change. I stripe my tapes with 1 hour for the 1st tape, 2 hour for the 2nd, etc. My producers and editors expect it. The only way to speedily change tapes in the field now, is to pre-stripe them with the correct hour and set the tc to regen. I may have to do that.

I thought I would be bothered by the lack of TC out for slaving, but since I am using FCP 5 with the fab mulitcam feature, I realize I don't really need it anymore. :)
I just did a four cam shoot of a jazz concert without slaving any cameras, all started to record at slightly different times, and the multiclip was just amazing.

I too would very much like an HD output. I was under the impression the HD100U had such a feature (TV Technology review mentions it) but all I could find was analog component.
I shoot some 3 cam shows, and they would definitely be interested in recording directly to HD.

One additional software upgrade I would very much like to see is more items added to the User1,2,3 buttons. I would like to be able to select anything in the menus, up to four or six per User. Currently I have User 1 set for Bars and Tone, and I don't have anything I would like in User 2 or 3.
That would be a handy place for the TC reset/advance to the next hour!

I would like to see the earpad to be more movable. It's in the way of the transport buttons as it is, and it doesn't line up at all with my ear. I unscrewed the bottom screw and have it rotated 90 degrees so it fits better, but it's only held up by one screw now.

I would be nice if the LCD screen could be on a sliding bar, so that it could slide towards the front of the camera, but that is probably too big a physical change.

I would like to have a mount for a pistol grip. I find the camera front heavy (everybody does) and I don't want to add the weight of the A/B plate and batts on the back to balance.

I found the manual to be horrible. Bad translation of Japanese thru Norwegian or something. Some items I don't really know what to do with!

btw, my camera does not display any bad pixels or vertical split screen. The box was resealed with a QA JVC USA sticker, and the plastic bag around the camera had obviously been opened.

I look forward to seeing some recipes and ability to share file presets with other users.
And tips and tricks for menu settings.
 
Couple more wishlist items in the audio monitoring section:

A way to adjust alarm volume or mute it from a user button. I think I understand how it works now...if it is set to on in the menu, it will be output in the monitor earphone output. To turn it off now, you have to access the menus...

Also, in the monitor section, I see that the output can be set to stereo or mono. In stereo I guess you can hear Ch1 in L and Ch2 in R. In addition, in stereo mode, only 1 channel is heard on the stock earphone. I wish there was a way to switch to hear only CH1 or CH2 on the fly. Again, this is a function on full size cameras that I use all the time to check audio.

That's it for now!

Dave Beaty
 
SouthCoast said:
I too would very much like an HD output. I was under the impression the HD100U had such a feature (TV Technology review mentions it) but all I could find was analog component.
I shoot some 3 cam shows, and they would definitely be interested in recording directly to HD.
Click to expand...

It looks like Miranda is coming out with the exact type of firewire to HD-SDI/TC product I described on my wishlist. It will also do cross-conversion 720p/1080i

http://www.miranda.com/press.php?l=1&i=106

HD-Bridge.low.jpg


Tim
 
SouthCoast said:
I found the manual to be horrible. Bad translation of Japanese thru Norwegian or something.
Click to expand...

I know what you mean. Did you notice the repeated typo "Time Cord" instead of Time Code?
I can't believe they printed the manuals without anyone noticing that one. It even shows up in section headings!
 
It is almost unbelievable in a way. Huge Asian Corp's still having the lack of professionalism to find a good translator. I wonder if it is the same going the otherway?

Back to Dashwood's list.

#6: You can get component out uncompressed at 60p and that is what broadcaster would use anyways. They are not going to HDV compression for live broadcast So it already has this feature.
As far as wanting 720p60 on tape, why do you think they do not do it? Too much data to fit on the tape which would result in horrible compression would be my guess.
 
funkydmunky said:
As far as wanting 720p60 on tape, why do you think they do not do it? Too much data to fit on the tape which would result in horrible compression would be my guess.
Click to expand...

OT: The tape can not handle that datarate without A: speeding up the tape in the transport or B: having more surface area on the tape itself to store data. It is a physical limitation that creates an electronic limitation.
 
It looks like Miranda is coming out with the exact type of firewire to HD-SDI/TC product I described on my wishlist.
Click to expand...

I may have it wrong, but this product seems pretty useless. If you go HD-SDI you try to leave out compression. Instead if you go Firewire you want easy handling and storing, but with the cost of quality.

Once you use the firewire out in HDV mode, you have all the problems of HDV, no?? Better get a Canon with native HD-SDI??
 
videoteque73 said:
I may have it wrong, but this product seems pretty useless. If you go HD-SDI you try to leave out compression. Instead if you go Firewire you want easy handling and storing, but with the cost of quality.
Click to expand...

It is true that you are still getting compressed HDV out of firewire anyway you look at it. The benefit of a firewire to HDI conversion is that you could digitize straight to a better codec via a Decklink HD or similar card, and then finish post in a superior codec. You could also use the component out, but then you are introducing D to A and then A to D (same for audio.)

I've done a test digitizing analog component out to uncompressed 10-bit codec and it worked well. However, I still wasn't sure how much 8-bit gradation stepping was being introduced by the digital to analog converter. It even shows up on the live 720p60 output before it is comitted to HDV tape. That certainly doesn't seem "uncompressed" to me. I still have to do some more tests to get to the bottom of this.
 
It all comes down to the quality of the units you are using - particularly when you are going A to D and vice versa. However, in response the the earlier question, there are massive benefits of up-converting to HD-SDI and finishing uncompressed. As already stated, it won't suddenly make your footage look like it was shot on HDCAM SR but it will mean that all processing that occurs AFTER the conversion to HD uncompressed will result in minimal further degradation of the image. We have used the equivalent approach for DV/DVCAM acquired material for years: Shoot on a good DV/DVCAM unit like DSR570 and online by converting the material on ingest to the Symphony. There are more ways to skin a cat these days but the theory holds good. For best results, you should do the finishing in the highest quality environment. To my eyes, finishing in native DV looks bad enough but for many applications it is perfectly adequate. However, I have seen what as little as 6 layers of HDV look like: plain dreadful - even to granny on her rubbish TV.

That said, if you're working at home you're unlikely to have the bucks to install and run an online suite capable of sustaining the huge data rates required for uncompressed HD and - for offline - you just don't need it. Personally, I'd not even get into this kind of thing and find out what workflow gives you the snappiest response with the gear you have for offline cutting and - if there's enough money - take the material to a professional online suite for the finishing. Let the rich post houses invest in this kind of gear for now. If you're not finishing for broadcast then choose the best codec your system can reasonably handle and use this to finish. Avid DNx is one acceptable example and it is supported by Avid Xpress Pro and MC Adrenaline, which don't cost too much to run.

We're a post facility for broadcast and we are only just starting to install uncompressed HD suites.

Tony
 
Now that I've had a day to shoot the camera, a couple more small, but really annoying things:

The carry strap. It doesn't ship with one. You have to buy one, and the little clips to attach have a very small slit so snap on (like PortaBrace straps) don't fit. You have to buy a small metal keyring, and then attach the snap on to that. Since they are metal, it rattles. Very lame, not to include a strap.

The AC/Battery charger. Lame again. You have to disconnect the ac cable before it will switch to batt charge mode. The cable has to be disconnected from the AC side, not the camera. This is stupid. When I'm running on batts, I'm not gonna have the ac cable dangling off the camera. Yet, in order to keep charging my extra batts, I also have to pull the plug from the charger? The cable will most definitely get lost. It should be enough that it's not connected to the camera. Better yet, why not have it work as BOTH ac/batt charger at the same time? When you are on AC, your batts are charging. Otherwise, I will have to get a dedicated charger for the batts.

And, what size filters (round or screw in?) does this camera use? I have Series 9 and 82MM left over from my BetaCam and they screw into the very end of the lens, but the lens shade is a bit of a problem. I was told the camera takes 72mm, but they don't seem to fit.

more to come, I'm sure.
 
SouthCoast said:
in order to keep charging my extra batts, I also have to pull the plug from the charger? The cable will most definitely get lost. It should be enough that it's not connected to the camera. Better yet, why not have it work as BOTH ac/batt charger at the same time? When you are on AC, your batts are charging. Otherwise, I will have to get a dedicated charger for the batts.
Click to expand...

OT and FWIW: Panasonic is the same with their charger. You have to pull the DC power connect out of the charger to charge a battery. Quite lame...
 
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