Before I start I want to say a huge thank you
to Judd Hughes at Bennetts
Electrical Warehouse, Bangor, North Wales and to JVC-UK
for supplying the DV camcorders used as part of this article.
One of the easiest ways to get off on the wrong
foot with your video adventure is to go out and lay down a heap
of cash on a totally unsuitable camera, assuming you don't already
own one that is. Even if your current video camera is based
on the older VHS, SVHS, 8mm or Hi8 formats the benefits gained
from using your PC for editing purposes are significant, but
we're in the throws of the digital age and it therefor makes
sense to record and edit digitally. To do this you'll need to
equip yourself with a camera that supports one of the newer
digital video formats such as DV, DVCAM, DVCPRO or Digital8.
DV, DVCAM, and DVCPRO are for the purposes of this article just
about identical in terms of video quality and DV (MiniDV) is
the format you're most likely to find in the high street. Digital8
is pretty much a camcorder only based format with little support
outside of the camera but it does have the benefits of handling
older analogue 8mm and Hi8 video tapes.
With my mind made up that I wanted to keep the
entire process in the digital domain until the last possible
moment I realised that I'd have to get my hands on a DV camcorder.
For the past 7 years or so my domestic needs have been catered
for with a JVC SVHS camera and despite my fondness for it I
was going to have to tuck it back in the wardrobe on this occasion
in favour of something a little more......well, digital.
Mistake number one on my part was to assume that
all DV camcorders are created equal. Sure I realised there were
going to be some differences in general image and build quality
but I wasn't prepared for the array of input and output options.
After a phone call to my local Bennetts Electrical I was sorted
and ready to go. They had a JVC GR-DVX400 in stock that they
were prepared to loan me and I'd like to say a big thank you
to Judd Hughes, manager at Bennetts Bangor for his generosity
in helping me out. I'll cover the actual features and my experiences
with the GR-DVX400 later in a moment but first a look at the
specifications.
GR-DVX400
High-Band Digital Video Camera
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1/4-inch 800,000-Pixel CCD
520 Lines of resolution with Super High-Band Processor
Digital Colour NightScope
Digital Photo Capture (with Digital Photo Navigator)
It was while lifting the components from the GR-DVX400's
box that I realised I had a problem. There was no IEEE1394 (FireWire)
cable supplied and the camera also used a non-standard DV output
socket which immediately scuppered my plans. In fact even the
supplied analogue cable wouldn't connect to the PC without the
use of an adapter (not supplied) as it was terminated with phono
connectors rather than a conventional stereo jack. Without a
doubt this was a camcorder supplied with a view to transferring
video to your conventional domestic VCR rather than your personal
computer, a seemingly strange concept considering the camera's
digital nature but a frustratingly sensible one from JVC's perspective
based on the target market.
Anyway, wondering how to proceeded I contacted
JVC who concluded I'd possible be better off using their sleek,
black GR-DVP7. A few days later and a parcel arrived with the
undoubtedly sexy looking GR-DVP7 nestled inside.
GR-DVP7
High-Band Digital Video Camera
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1/3.8-inch 1.02 Megapixel Wide CCD
530 Lines of Resolution with Super High-Band Processor
HG Digital Stills (1280x960/1024x768/640x480-pixel)
S-Video Output, A/V Output, Edit Control on Multi-Terminal
S/AV/Editing Cable
LP Mode for 120 min. on single cassette
If I'd thought the JVC GR-DVX400 was small this
thing was minuscule with dimensions not much larger than a packet
of cigarettes. Unfortunately though, despite the fact that this
one featured a vastly more flexible DV in and DV-out capability
there was still no IEEE1394 cable in the box. There was a USB
cable but being USB 1.0 this is only really suitable for transferring
still images (using the camera's snapshot mode) or for use in
"webcam" mode where you can basically turn your new
toy in to what is essentially an £800 webcam. Thanks but
no thanks! Reading through the manual it seems the whole concept
of connecting your new video camera to your PC is only covered
in the latter pages of the manual and then it's with a view
to transferring stills or using it in webcam mode. Maybe we
need to lay some of the blame for the slow adoption of PC video
editing at the doors of the camera manufacturers too, they're
certainly doing nothing to help. At this price I can't help
but feel that a standard DV to IEEE1394 cable should be right
there in the box alongside the strap and the lens cap and although
not everybody will be using it straight away a damn site more
people might be tempted to give it a go if the necessary cable
is supplied. To make it worse I've seen the prices being charged
for some of these big name branded DV to IEEE1394 cables and
it smacks of profiteering if I'm honest.
So back to square one, two high tech miniature
marvels later and still no way to actually get the video out
of the camera while preserving the format in which it was created,
namely the digital format. Be warned, it doesn't stop at the
camera, make sure the product you have your eye on comes with
DV out and a DV to IEEE1394 cable if you want to transfer the
video digitally to your hard drive. If it doesn't check the
price of the cable and take this in to consideration when you
buy
In the end I was rescued courtesy of Steve Wise
at Pinnacle who sent me a boxed copy of Edition DV which actually
comes with the required cable. Good to see somebody is on the
ball!
Using The Cameras :
Even coming from having used both SVHS and Hi8
video cameras the quality from both of these JVC units was fairly
amazing. My biggest criticism would be that colours still seem
a little washed out for my liking but this seems common to all
the domestic cameras on the market at the moment. Quite why
they can't give them a little more punch I don't know.
What I didn't particularly like about either camera
was the size. I understand that for most users portability is
a big issue but I had real problems finding a comfortable, and
above all a steady way to grip them while at the same time operating
all the controls comfortably and I was regularly plagued by
the appearance of a stray finger in the viewfinder. I suppose
my still photography heritage has accustomed my to using cameras
that fit the hand very comfortably and I have to say the sheer
unwieldy nature of both of these cameras and their equivalents
from other manufacturers would be enough for me to keep my cash
in my pocket. Even operating the record start/stop button and
zoom control ring was just about impossible without the whole
camera tilting slightly and spoiling the shot. Without a doubt
anyone who's serious about the quality of their video footage
should either invest in something a little bigger and more ergonomic
to hold or place the camera on a tripod and use the supplied
remote control to operate it.
I was impressed with the digital image stabilizer too but only
in limited situations. Don't let the feature stop you from using
your tripod, it works reasonably well for moderately zoomed
shots but at longer focal lengths it really doesn't do enough
to keep things steady. In some situations it can actually exaggerate
hand tremor, particularly if you're prone to trembling hands
or if it's windy. The reason for this is that the image stabilizer
has to intelligently decide whether camera movement is due to
hand shake or is the start of a pan or tilt motion. For very
small movements the camera has no problem identifying this as
hand shake and will compensate for it but as the movements get
larger the camera goes through phases of stabilizing the image
then letting go of it thinking it's a genuine movement, then
stopping it again and so on making the shake look worse than
it probably would have done naturally. Another situation where
I needed to disable image stabilization was on very slow panning
shots and the reasons were the same. As the motion starts the
camera initially stabilizes the shot before realizing it's a
pan shot at which point it lets it go and it catapults to catch
up. This seems to be repeated over and over during a very slow
pan leading to a choppy look to the final footage. So yes image
stabilization works well so long as you appreciate it has to
be used with care and using it as the lazy alternative to a
tripod is a definite no-no.
Apart from this both cameras performed admirably.
I preferred the menu navigation found on the cheaper GR-DVX400
as it centred around a rear dial which was pressed to access
the menu and turned to scroll through the options. This to me
was far more instinctive than the panel of membrane type buttons
stashed away behind the LCD on the side of the GR-DVP7 as these
required too much pressure to operate easily and were generally
more fiddly to use. Also, don't be fooled by the claimed low
light capabilities. Although you can shoot in almost total darkness
you can only take static footage. The shutter speeds at these
light levels are so slow that moving the camera gives a strobe
like effect that's hardly suitable for most situations. A tripod
is still a must.
Basic Techniques :
I don't want to get too in depth here as I'm no
expert videographer myself but a few pointers never did any
harm and can help get better results sooner. These are fairly
rudimentary tips that most experienced users take for granted
but if you're just starting out they're worth you knowing.
1/ Use a tripod ~ using a tripod not only steadies
your shots it also slows down the filming process and gives
you time to think about how you want the scene to look and whether
you're shooting from the right place. Generally speaking more
expensive tripods offer smoother panning through the use of
better quality heads and though a general SLR tripod is fine
for static shots you'll need a video specific tripod for fluid
action pans and tilts.
2/ Think about height ~ Not all subjects look
best from your eye level. Children and animals in particular
may look better filmed from a lower level so don't be afraid
to drop to one knee or lower your tripod and see how a particular
scene looks from a lower vantage point. Likewise, some subjects
may look better from a higher vantage point so weigh up the
options before you shoot.
3/ Slow you panning ~ Almost all new video camera
users pan around too quickly. The human eye is very good at
compensating for a fast pan when you're looking through a viewfinder
because your head translates the movement to your inner ear
but watch the same scene later on your TV with your head perfectly
still and it's going to look completely wrong. Always pan slower
than you think you need to.
4/ Take close and wide shots of every scene then
edit them together later. For children opening Christmas presents
for example don't just point the camera at them and keep it
running, start with a wide shot then get a close up of the hands,
the facial expressions and the paper littering the floor. These
close ups can be used to break up long scenes where the subject
matter remains the same and stop it getting boring.
5/ Think about background noise ~ Our brains automatically
filter out background noise and home in on important audio but
a video camera can't do this. That radio in the background that
you didn't even notice could ruin a great shot.
6/ Don't snake ~ Snaking is when your camera is
constantly snaking from one part of a scene to another without
ever settling on anything. Plan your shooting before you start
and make your moves from one part of the scene to the next slow
and deliberate. Rest on each part of the scene for at least
six seconds to let the viewer look at it.
7/ Try to keep every scene at least ten seconds
in length. You can always edit footage out but you can't add
what isn't there.
8/ Watch the lighting ~ Most domestic camcorders
feature a backlighting function but don't allow exposure to
be locked. In this situation it's better to keep any unusually
bright light sources behind you so they don't interfere with
the camera's exposure settings. Windows when shooting indoors
during daylight hours, the sun and particularly bright room
lights should be kept behind you where possible or out of the
viewfinder where it's not.
9/ Don't bullseye ~ As with still photography
it's rarely correct to place the point of interest smack in
the middle of your frame. If you watch the TV you'll find that
even shots of people rarely have the main person dead centre
in the frame unless it's a formal shot such as a news reader
or something similar. Landscape shots in particular should,
where possible, feature a focal point (a point of prime interest)
which should be placed at the intersection of thirds. This is
the imaginary place where the two lines that horizontally divide
the viewfinder into thirds cross the the two lines that vertically
divide the viewfinder into thirds. Also try to have people looking
and moving (walking, running etc.) into space, that is have
more space in front of them than there is behind them, ideally
two thirds more space unsurprisingly :).
10/ Enjoy it ~ A little planning and thought needn't
turn a fun hobby into an obsession that has you snapping at
the kids for looking at the lens or wandering off their marks.
These are guidelines not rules and most things can be put right
at the edit stage. Don't let your attempts to improve take the
fun out of what you're doing.
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