A professional video camera (often called a "television camera" even though the use has spread) is a high-end device for recording electronic moving images (as opposed to a movie camera, that records the images on film). Originally developed for use in television studios, they are now commonly used for corporate and educational videos, music videos, direct-to-video movies, etc. Less advanced video cameras used by consumers are often referred to as camcorders.

There are two types of professional video cameras: High end portable, recording cameras (which are, confusingly, called camcorders too) used for ENG image acquisition, and studio cameras which lack the recording capability of a camcorder, and are often fixed on studio pedestals.

Technology

Professional video cameras capture and transfer two dimensional images sequentially, at specified capture rates, usually in the visible range of the electromagnetic spectrum. These images can then be transmitted to television receivers and replayed on a screen (CRT or LCD) at a frame rate approximating that used by the camera. They serve as a means of communicating valuable information across large distances: world events, exploration of planets or satellites, space stations, etc.

It is common for professional cameras to split the incoming light into the three primary colors that humans are able to see, feeding each color into a separate pickup tube (in older cameras) or charge-coupled device (CCD). Some high-end consumer cameras also do this, producing a higher-quality image than what is normally possible with just a single video pickup.

The Basic:

Panasonic's SDR-S100, SD Recording 3 CCD Camcorder
     
The world’s first 3 CCD SD (secure digital) recording camcorder, the SDR-S100, “a genuine video camera,” Panasonic is adding legitimacy to the flash media camcorder market. The new (9/2005) camcorder includes a 2GB SD card for recording MPEG2 video and features 3.1 megapixel stills.

To the:

AJ-HDC27H VariCam®

 Variable Frame Rate 16:9 HD CinemaTM Camera with CineGammaTM Software for $65,900.00 (list)

12-bit digital processing and higher sensitivity CCDs.

The AJ-HDC27 VariCam HD Cinema Camera brings variable frame rate acquisition to the DVCPRO HD product line up. This is the first high definition production camera that is capable of variable frame rate at the touch of a button. Individual frame rates may be selected from: 4-fps to 60-fps in single frame increments. Frame rates may be changed during recording. Designed as a high quality production camera, this native 720p camcorder can be used for 60-fps or the film-like 24-fps acquisition. When acquiring for 24-fps projects, higher than 24-fps operation can be processed for slow motion effects while slower than 24-fps operation can be processed to speed up motion. Additionally, the variable frame rates and related variable shutter speeds create some very interesting ghost like motion blur effects, warp speed zoom effects, and long exposure still shots typical of what one might see in music videos, sci-fi dramas and dream sequences.

The camera has the capability to emulate film's gradual transfer function performance (i.e. CineGamma^TM). This function greatly increases the camera's usable dynamic range, especially in traditionally limiting areas such as highlight handling, which until now was a serious limitation for most HD cameras. CineGamma provides the user with a much closer approximation of film's renowned ability to maintain smooth image tonality even when gently compressing extreme highlights. Cinematographers are able through the CineGamma feature to control the camera's gamma transfer function to best optimize control over tonality, from extreme highlights to the lowest of shadow areas.

The AJ-HDC27 VariCam serves a triple role: 1.) as a 24-fps camera, 2.) as a standard 60-fps video camera, and 3.) as a variable frame rate special effects camera.

It is important to understand that only the camera section operates at variable frame rates. The VTR and the camera HD-SDI output operate at a constant 60-fps rate. If you set the camera for 60-fps with no shutter, the exposure time is 1/60th of a second and each camera frame is recorded once on tape. As soon as the frame rate becomes lower than 60, exposure time increases proportionally and redundant frames are recorded on tape. For example, if the camera operates at 30-fps, each new frame is recorded twice to ensure 60-fps on tape. 24-fps is a non-evenly-divisible frame rate and requires the classic 3:2 type pulldown frame sequence with one frame recorded three times and the next two times. As you see, this technique generates redundant frames used to pad the data to maintain a constant 60-fps on tape including both new frames and redundant (repeated) frames.

By keeping the VTR frame rate at 60-fps no new DVCPRO HD studio VTRs or specialized video monitors are necessary. By recording standard 720p60, tape can be run through a standard linear tape based post production chain, yet still deliver "film look" video. If a linear 24-fps post production process is required, material can be converted to D-5 HD 1080p 24-fps by the Panasonic AJ-UFC1800 or other 3rd party products. This process works by removing redundant frames. Various NLE systems now support editing with variable frame rates acquired with the AJ-HDC27.

 .... and everything in between.

Here's a sampling from the Pro-Line:

DVX100BSerious AG-DVX100B Serious Production Package

$4,740.00 (list) 1/3" 3-CCD 24P/30P/60i DV Cinema Camera with CineSwitch^TM Technology, CineGamma^TM Software and IEEE 1394 Interface

• New - 16:9 Aspect Display Mode on EVF and LCD for distortion free Squeeze Mode or Anamorphic Display • New - Higher resolution 235,000 pixel .44-inch BW/color switchable electronic viewfinder (EVF) with superimposed audio metering • New - Higher resolution 210,000 pixel flip-out 270 degree 3.5" LCD display with superimposed audio metering • New - Remote focus and iris control with optional VariZoom controller(s) and others • New - LCD panel has a bit of a break-away beyond the 90 degree point • New - Single Button Display Character Off for LCD and EVF • New - What you see is what you get on LCD and EVF • New - Scene files transfer over FireWire • New - Time code transfers over Firewire • 1/3" 3-CCD Mini-DV camcorder with exclusive CineSwitch^TM technology • Rugged magnesium alloy diecast chassis • Outstanding sensitivity of F11 @ 2000 lux • Supports 480i/60 (NTSC), Cinema-style 480p/24fps, and 480p/30fps image capture • Precision wide-angle Leica Dicomar lens with Servo/Manual Zoom (with stops & barrel markings) • Auto/manual focus F1.6 with 72mm filter size and advanced optical image stabilization • Conventional 4:3 aspect ratio and 16:9 letterbox image capture modes • 16 x 9 anamorphic - letterbox and digital squeeze • Conventional video gamma and CineGamma^TM operational modes • Seven gamma settings - L, M, H, CINE-LIKE, + CINE-LIKE D, CINE-LIKE V, Black Press • Four knee settings - Auto, Low, Mid, High • Four color matrix settings - Norm, Enriched, Fluor, Cine • Three vertical detail level settings in progressive mode - Thin, Mid, Thick • Up to +12dB gain in progressive mode • 2-channel XLR audio inputs with phantom power supply (+48V) and manual audio levels • S-Video, Video & Stereo Audio IN and OUT • Standard IEEE 1394 FireWire interface (in/out) for transfer of digital video/audio to NLE platforms • One Shot recording capability • Unique pre-cleaning heads and auto head cleaning to maximize reliability • Well balanced and highly portable: 4.4 pounds in full operating condition • New - Longer-lasting 5400mA standard battery • Slow Shutter - 24P - 1/6, 1/12, 30P - 1/4, 1/8, 1/15, 60i - 1/4, 1/8, 1/15, 1/30 • Edge enhancement for easy focusing - Peaking (switchable on/off) in LCD and EVF • Auto focus assist in progressive mode • Built-in SMPTE color bars in interlace and progressive modes • Three user-programmable buttons are assignable to any one of 11 functions • New - Color drop-down display mode for menu choices • New - End Search Camera function - no longer necessary to go to VCR mode to search up to the end of the recording • New - Menu change on Tape Protect to read Power Save • MOD (Minimum Object Distance) - 0.6 meter • Two zebra settings - 80-105% • New - CineSwitch^TM Scene File Dial is more protected from unintentional changes • New - Slower middle zoom speed • Interval recording time mninimum - every 15 seconds • Color level, brightness and contrast adjustment - separate LCD and EVF settings • New - More sensitive on-camera microphone • New - Audio off tape or live E-E for delay free (echo free) monitoring (menu choice) • New - Speaker position has moved to top of camera (was behind LCD) • New - Heavy-duty tripod connection • New - Black Sapphire color, Barrel Paint is textured to reduce fingerprints • New - ROHS compliant manufacturing assuring environmentally correct parts and methodology • New - Cleaning tape included • New - Red Giant Software's Magic Bullet Editors 2 ($395.00 retail value) included • New - The DVX Book + DVD ($69.95 retail value) included

The Sony HVR-A1U

Smallish and quite light weight, considering, the HVR-A1U this power-packed camcorder is loaded with professional features. It shares the same body frame as the consumer-oriented HDR-HC1E, though the similarities end there. roughly the same price once evenly equipped, you would would be far better off with this camcorder.

All things considered, this camcorder is a great value, and no different than any of the other offerings from Sony 's HDV team in terms of bang-for-the-buck. The few things that I'd wish were part of the package are minor in nature, excepting the bottom load for tape. I see this as a major challenge for pros that want to mount this camcorder to a tripod, jib, camera stabilizer, or other device.  Aside from that small annoyance, for use as a helmet or crash cam, or for use as a second camera in an already-existing HDV production rig, this camcorder is choice. As an entry-level HDV camcorder , this also is a great option. The quality of image is not quite up to par with that of the bigger, more expensive HVR-Z1U, while the HDV quality beats any DV camera by a fair amount. With a little color correction, it's not difficult to marry images captured with the A1U to images captured with the Z1U. Monitoring shots from both professional cameras via Serious Magic DV Rack with HD PowerPak, the scopes show exactly where these two cameras differ, and while they are indeed different, they aren't so far apart that color correction won't bring them together quickly.
The small size also proves to be challenging for less experienced camera operators, and getting the shot held smoothly can be difficult, due entirely to the small size. However, this is one of the most interesting aspects of the camera ; it's small size.
More noteworthy is that by removing the audio unit from the top of the A1U and by removing the lens hood, the A1U could easily pass as a sneak-cam, or high definition nanny-cam. It's not intimidating at all, and could easily be carried into museums, sporting events, or other locations where a more professional camera might stick out or be refused entirely.

Good things can come in small packages, and this newest offering from Sony 's professional division is no different. This is the sort of camcorder that can be handed to television reporters to take home for those late-night calls and a camera crew might be taking a while to get to the scene, or perhaps used for corporate production.

With a street price of around US$2700.00, this isn't the cheapest camcorder on the block, but it's to date the least expensive HDV camcorder available, and best of all, it's coming in at 1080i, which suggests Sony is very future-looking to the time when all television is 1080. The small package will pack well, and it's small size makes it perfect for mounting on the front of a car, motorcycle, or parachute helmet. The low cost makes it perfect as a crash-cam or high-risk camera where a more expensive camera might be too risky to place.

GY-HD100U

3-CCD PROHD CAMCORDER

The smallest and most affordable HD Cinema production camera available! JVC's GY-HD100U opens a new area of digital cinematography, letting you unleash your creative potential with results that are nothing short of spectacular. Full High Definition (HD) progressive recording at 24 frames per second Compact shoulder style for stability, comfort and mobility Three newly developed 1/3-inch CCDs with 1280 x 720 (square) pixels Interchangeable lenses with standard 1/3-inch bayonet mount Rugged die-cast body 16X Fujinon newly developed ProHD lens included HD Focus Assist makes focusing faster and more precise Live 720/60P analog component output Dual Media option (record to disk and tape simultaneously) XLR Audio inputs (x2) Extensive user adjustable parameters can be stored on SD memory card Spectacular standard definition performance, too! – records on MiniDV tape HDV™/DV Format

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