So you want a new camera?

A long-time colleague of mine put the camera back on the shelf a few years ago and went into middle management.  Not going to debate the merits or drawbacks of that move, I just know I still enjoy getting behind the viewfinder as opposed to the desk.  So he asks for some detailed advice on inexpensive camera setups that are digital and have professional XLR audio inputs.  He wanted a reasonable budget and a low budget–around $7000 at one end and around $3000 at the other end.  It’s been awhile since he’s thought about this sort of thing, so I tried to cover the basics.  I’m sure much more can be added and some subtracted, with all of it up for a good argument.  Maybe this will be helpful to you as well.

Cameras

You’ll find the Panasonic P2 family noticeably absent.  This company didn’t want to invest in a whole new format infrastructure, so I steered them toward the SDHC compatible cameras.  A simple and inexpensive reader is all you need to import to their Final Cut Pro (or any NLE) system.  The Class 6 cards (a designation of speed and about $50 for 16GB) should be considered since you’re moving video files, not Word documents.  The card speeds are increasing all the time.  They also wanted to integrate as much of their existing Anton Bauer battery and Frezzolini lighting gear as possible.

Sony PMW-EX3 (EX3) $8300 Here’s a detailed review.
The Sony EX3 is at the top of the price range for small cameras, but provides the greatest quality (along with the EX1) in terms of build and picture quality. The picture quality is head and shoulders above any other camera system in this price and size. EX3 and EX1 use three 1/2″ CMOS imagers. The choice of the EX3 over the EX1 is due to versatility. There is simply more 3rd party support gear being built for this model to make it ENG friendly and a production workhorse. A top recommendation for your situation would be the Anton Bauer QR-EX3, $195, which allows you to use your existing Anton Bauer batteries and gives you a d-tap for the Frezzi.
Pros – picture quality is tops. Easy accessories, much support from 3rd party vendors. Shoots on the inexpensive SDHC flash media cards (with an adapter-RAW SxSxSDHC memory adapter $50). No moving parts, all digital. Auto focus and image stabilizer. Excellent viewfinder, if a bit on the gawky side.  This may be important to you: time-code in/out and genlock for multi-cam shoots, all with pro BNC connectors.
Cons – most expensive of recommended cameras. Lens is not the longest, but optional lens available. Easily convert files for Final Cut, but it’s an extra step.
Bottom line – this camera will be an investment. The High Def quality and professional setup will please your viewers, clients and those using the camera. The accounting department won’t be as enthusiastic.

Sony PMW-EX1R (EX1R) $6300 Here’s a detailed review.
The Sony EX1 is the smaller version of the EX3, but the lens is fixed, not interchangeable. Still a good quality Fujinon 14x lens, just like the EX3, with full iris ring and focus stops. No spinning focus ring. Picture quality is excellent. The buttons and switches are all smallish and we’re not used to working that way. But once you get the camera dialed in, it’s quite easy to use. This particular model, the ‘R’ will also shoot standard def.  And there’s a video cache, meaning you get a few seconds of video before you hit the record button, so you won’t miss the big event when you looked away.  And here’s something to help give some newsy versatility.  Switronix makes a huge honkin’ battery that allows for 96watt hours (monstrous) and gives you that coveted d-tap to power accessories like an on-board light.
Pros – same quality as EX3 at lower price point. Shoots SDHC cards with an adapter.  Auto focus and image stabilizer. Like EX3, professional and industry acceptance.
Cons – must convert files to make them work with Final Cut, easy to do, but an extra step if you’re in a hurry. No time-code or genlock.
Bottom line – this would be an excellent camera for a variety of situations, giving great image results. But it is not designed as a news gathering machine.

JVC GY-HM700U $7000  Here’s a detailed review.
If you decide robust quality is not a high priority and you can foresee these cameras as short term investments, the JVC 700 should be seriously considered. JVC has earned a reputation for poor quality and I don’t have any reason to believe the overall quality of this model is great. However, it gets a lot of things done for your particular situation. They already accept the Anton Bauer batts, they have a shoulder mount style you’re used to, and they shoot on the SDHC cards in .MOV format for quick and easy Final Cut Pro use, without any converting. These are only 720 high def cameras, the CCDs aren’t full sized 1080, but they upconvert. That’s not too big a deal, but the other cameras are full HD. And having smaller 1/3″ chips means they won’t work as well in low light, very grainy.
Pros – easy integration to your existing workflow, seamless with Final Cut Pro.  Decent sized, ENG-style lens. Fair amount of accessories.
Cons – lack of quality, may not last if you work them hard. May be fine if treated well. No time-code or genlock. Visual quality compromised in low light.
Bottom line – if your thinking is short-term, this may provide a very workable solution for your operation. You won’t be lauded for purchasing the buggy and traditionally poor quality JVC line, but you will have a professional looking camera in the field and you’ll be integrating well into your existing equipment.

Panasonic AG-HMC 150 – $3500 Review.
Panasonic AG-HMC 40 – $2000  Review.
I’ve lumped these two Panny cameras together because they are very similar and get you in the $3000 ballpark.  Both of these seem very good for their small size and will deliver good picture quality. I’ll concentrate on the 150 with the 1/3″ CCDs, but the 40, with only 1/4″ imagers could be considered if you’re looking for a real bargain or as a “spare” camera. The 150 is designed similarly to previous Panasonic handhelds with a proven track record and seems rugged enough to be a consistent worker. Shoots on a more highly compressed AVCHD codec, but the images look quite good for small cameras. You’ll be impressed. You can also shoot 90 minutes on an SDHC 16GB card, very economical. As a newsy bonus, there’s a 3 second cache, just like the more expensive cameras.  Very nice touch.
Pros – inexpensive. SDHC efficiency, and more features than you’d expect on a small camera, including XLR audio. Solid track record based on it’s predecessors.
Cons – inexpensive means corners have been cut. This is not a robust news-gathering machine. You may not look as professional with small cameras.
Bottom line - these cameras will perform well for what they are. Don’t expect big performance at this price range, but they will deliver beyond what you may think of for their size.

Wireless mic system

Sennheiser EW100 ENGG2C Evolution – $700 Wanna buy?
My first choice for wireless systems is Lectrosonics, but they are pretty pricey. The Sennheisers are not as robust, but have proven themselves for years. This particular model includes the transmitter for the handheld mic, along with the beltpack transmitter, mic, and receiver. Solid performer.

Tripod

Manfrotto 503HDV,351MVB2K HDV Tripod System – $650 Wanna buy?
First, what’s wrong with your current tripods? Tripods generally stay around a good long time, and if it’s still working, stay with a good thing.  For this price, the Manfrottos with the 503 head are proven performers and will still be around after you’ve beaten them up in the back of the news vehicle and thrown them around a few times. I would prefer a better tripod since this is a long-term commitment, but those prices start around $1200, twice this price.

This isn’t meant to be an exhaustive review, but a primer for this company venturing forward, converting from DVCAM to digital, standard definition to high def.  I could make a strong case for Panasonic’s HPX-300, many strong points for an organization in transition.  But as I mentioned, they did not want to get tied to a proprietary format and all the costly peripherals.  You know, that seems pretty smart.  I also left Sony’s new NX5 off the list since it’s close to the Panny 150, but it costs more and it’s so new there isn’t a track record.  I’m sure there’s some differing opinions, please help your fellow videography community by sharing yours.

Tagged as: AG-HMC40, EX1R, JVC GY-HM700U, Manfrotto 503, Panasonic AG-HMC150, SDHC video cameras, Sennheiser EW100, Sony EX3