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Digital Video Camera Buyer's Guide
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Brand Product App. Format Specs URL MSRP
Sony DSR-PD150 EFP / ENG / Event Videography DVCAM or DV, mini-style cassettes only Three 380k- pixel (340k-pixel effective) 1/3" CCDs, native 4:3, but switchable to 16:9, capable of 15 fps progressive recording Click here $6,478 for ENG package $4,400
Sony DCR VX2000 EFP DV 3 1/3" 380k-pixel HAD CCDs, native 4:3, switchable 16:9, fixed lens Click here $3,199
Sony DSR-PD100A EFP DVCAM, mini-style cassettes only three 380k-pixel (360k-pixel effective), 1/4" IT CCD's, native 4:3, but switchable 16:9 formats, capable of 480p, capable of 15 fps progressive recording Click here $2,667
Thomson TTV 1277 & TTV 1279 WS EFP Digital Betacam (4:2:2) TTV 1277: IT 4:3 3-chip 2/3" power HAD IT CCD, 811 (H) x 508 (V)TTV 1279: IT 16:9 or 4:33-chip 2/3" Widescreen power HAD 1000 IT CCD,1038 (H) x 504 (V) Click here Contact Manufacturer
Thomson LDK 150DPM EFP Switchable DVCPro and DVCPro50 (4:2:2) Either 3-chip 2/3" FT or 2/3" DPM - DPM CCDs are required for 4:3 capability (?),NTSC: 1000 (H) x 498 (V) Click here Contact Manufacturer
Thomson LDK 140IT(W) EFP Switchable DVCPro and DVCPro50 (4:2:2)

IT Model: fixed 4.3 Aspect Ratio, with 3 x 2/3" Interline Transfer CCD, NTSC: 813 (H) x 503 (V)

ITW Model: Aspect Ratio switchable 16:9 and 4:3,3 x 2/3" Interline Transfer CCD, NTSC: 1038 (H) x 504 (V)

 Click here Contact Manufacturer
Thomson LDK 120 EFP DVCPro 3-chip 2/3" FT or 2/3" DPM, NTSC: 1000 (H) x 498 (V)16:9 switchable Click here Contact Manufacturer
Thomson LDK 110IT(W) EFP DVCPro 3 x 2/3" Interline Transfer CCD, W model Aspect Ratio: switchable 16:9 and 4:3Picture elements NTSC: 1038 (H) x 504 (V)T model Fixed Aspect Ratio: 4:3,Picture elements NTSC: 813 (H) x 503 (V) Click here Contact Manufacturer
Thomson LDK 6000 HD Studio HD 1080i or 720pcurrently Triax interface only 3 2/3" 9.2mega-pixel CCDs, dockable HD recorder back future availability promised Click here Contact Manufacturer
Thomson LDK 7000 Studio HD 24p, or 720 @ 60p (for slo-mo), 1080p in either 16:9 or 2.37:1 3 2/3" 9.2mega-pixel CCDs, currently Triax interface only Click here Contact Manufacturer
For a print friendly, no images, PDF version of this table click here.


Application (App.)
Most of the cameras included in this table are suitable for Electronic Field Production (EFP), that is they’re self-contained cameras and recorders that don’t require an external camera control unit or outboard recording equipment. ENG (Electronic News Gathering) cameras are designed to take the extra abuse of daily operation in adverse circumstances. Cameras intended for Event Videography are typically designed and priced to meet the less-demanding requirements of non-broadcast situations. A studio camera is a different breed of animal from the others. If human operators directly manipulate them, the cameras are typically equipped with larger viewfinders and intercom systems. The main characteristic of a studio camera, however, is the umbilical cord that links it to its camera control unit (CCU) in the control room. Studio cameras are typically employed in multiple-camera productions; they don’t usually have built-in video recording decks. Instead, a centrally located engineer adjusts the images coming from all of the cameras in the studio so that their pictures match. After the CCU, a studio camera’s output might be recorded in addition to being fed into the control room’s switcher, where a technical director can integrate it into the program being produced.

There are several cameras that are designed as hybrid studio/EFP cameras. They are equipped with on-board recorders, as well as intercom facilities and sometimes, teleprompter attachments. They can accept a camera control unit connection, which allows the control room engineer to match them with the rest of the studio and feed them into the switcher. They can also be disconnected from the CCU and operated as ordinary camcorders.

Tape/Signal format
The next column in the table shows the tape format(s) supported by the on-board recorders. Studio cameras won’t have an associated tape format, since they’re designed to provide a video signal to a control room. The tape format is important, since it determines how much of the picture information produced by the camera section actually makes it to the edit bay.

Sensor resolution
The pixel count for the image sensors is one of the most important characteristics for determining a camera’s potential performance. Higher the pixel counts are preferred, since they provide more image detail. Sensor Size

Larger CCDs are preferred, since they present reduced demands on the designs of the lenses. As the size of a CCD decreases, the lens must provide more magnification to produce an image of the same size.

Frame Rate
Twenty-four film frames are projected each second in theatrical film exhibition. Ordinary television cameras shoot at thirty frames per second in the US. Because the frame rates don’t evenly divide, motion artifacts are produced when material is moved between film and TV. Electronic Cinema cameras overcome this problem by adopting film’s frame rate.

Lenses
Directors of photography (DP) value the ability to choose the proper lens for a shot. A camera that’s designed with a widely used lens mount gives the DP additional flexibility in making that choice. Several highly regarded manufacturers now make lenses specifically designed for Electronic Cinematography applications. These lenses are identified by faster T-stops and special provisions for the focus puller, like larger lens markings and larger angles of rotation on the focus mechanism.

Special features
Naturally, the manufacturers introduce cutting edge features on the more expensive models first. One of these, loop recording, will inevitably work its way down to less expensive models as the price of semiconductor memory decreases. Loop recording, also known as video cache, employs a memory buffer to allow the camera to store five to seven seconds worth of images before the images are recorded on tape. This allows the camera to record events that happen before the record button is pressed. This feature will be invaluable to anyone trying to capture unpredictable events.

One of the high-end camera features that probably won’t be available on lesser cameras in the immediate future is the ability to do complex in-camera color correction. Sony’s HDW-F900 allows an operator to select an individual color within the frame and change it to a different color.

Panasonic’s AJ-HDC27V introduces the concept of variable frame rates into the Electronic Cinematography arena. Undercranking, or overcranking the frame rate in order to achieve an in-camera effect has been a staple of film production since the very beginning of motion pictures. With this model, Panasonic adds those tools to the electronic cinematographer’s tool belt.

Changing Scene
We’re witnessing a major transition in the way movies are being made. As more and more of the film post-production and exhibition paths adopt digital technologies, increasing pressure will be brought to bear on the production phase to become compatible. The end of chemical image acquisition isn’t going to happen tomorrow, but its days as the reigning format for motion picture acquisition are numbered.

John Stewart is a documentary film maker and commercial videographer based in San Clemente, CA. A principal partner of Walther, Stewart & Associates, John is currently editing a historical documentary for Aviator Pictures. The documentary tells the story of the civilian construction workers caught on Wake Island when the Japanese attacked at the beginning of WWII.



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