By Ned Soltz

The GY-HM700 marks JVC’s entry into the important niche of under-$10,000 interchangeable-lens solid-state-media HD camcorders. Rather than introduce yet another codec into the mix, JVC licensed the Sony XDCAM codec with data rates of 19, 25 and 35 Mbps. JVC has also wisely chosen to retain the form factor of its successful GY-HD100/200 series cameras, which remain the most ergonomic form factor of any camera in its class.

The HM700 is a 3 x 1⁄3" CCD device that records .mov files to Class 6 SDHC cards. The addition of the KA-MR100G SxS recorder ($1,000 stand-alone, or $500 when bundled with camera to create the HM700UXT) allows recording of .mp4 files to SxS cards, to the internal SDHC card or to both simultaneously.

My test unit came with a Canon 14x lens, providing, in my opinion, a superior option to the original Fujinon 17x lens. It, however, remains an option, as do a Fujinon 18x and Fujinon 13x wide-angle.

The high power draw of the CCD chips plus the optional SxS device required JVC to utilize an Anton-Bauer Dionic 90 as standard battery. A V-mount adapter is optional. Again, this is a wise choice, as the standardization of pro batteries helps position the camera in a more professional environment.

The HM700 records 4:2:0 long GOP video at 35 Mbps in 1920x1080 24p/25p/30p/50i/60i, 1440x1080 50i/60i (.mov only), and 1280x720 24/25/30/50/60p formats. At 25 Mpbs it records 1440x1080 50/60i) and at 19 Mbps 1280x720 24/25/50/60p. In camera over/undercranking is supported only in 35 Mbps 720p modes.

Just pick up the HM700 and put it on your shoulder. Then go shoot for a couple hours. It’s so well-balanced and the controls are so properly placed that the only fatigue is induced by shooting itself, not by fighting the camera. While I personally prefer to use a headset to monitor audio, JVC’s ear-level speaker is convenient and could suffice in certain situations.

The Canon lens, which opens up to 4.4mm, is the widest of any stock lens in its price range. It makes the HM700 even more useful for close work. Like any other pro lens, it is switchable between servo/manual zoom as well as auto/manual iris with the auto-in-manual button in front of the switch as would be expected. The camera only supports manual focus, and there are no 1⁄3" autofocus lenses anyway.

I am primarily a Final Cut Pro user and the ability to import .mov files directly without any transcoding or rewrapping was a tremendous and welcomed time saver. Users of other NLE’s do require the optional KA-MR100G and will handle the .mp4 files the same way as one would edit Sony EX footage. The MR100G only holds one SxS card. This could present somewhat of a problem in long-form recording and obviously require more frequent rotation of cards than in the two-card Sony solution. But, as noted, it is also possible to record sequentially to the two SDHC cards and then engage the MR100G to record to the SxS card. That would give the potential of almost six hours of continuous recording if using 32GB media. Still, I would have much preferred that JVC provide a two-SxS-slot solution.

Yet another of the significant advances of this camera, and an affordability measure which will help JVC sell tons of them, is its ability to write to inexpensive SDHC cards.

I pay about $35 or so for a class 6 16GB SDHC card. Compare that to around $550 for a 16GB SxS card. The use of SDHC cards as SxS substitutes, by the way, was first discovered by a number of us shooting Sony EX cameras who found we could use certain adapter cards which worked with SDHC cards to create less-expensive alternatives. The drawback, however, in the Sony environment, is that most card/adapter combinations allowed undercranking but only supported overcranking to around 40fps or so. The JVC implementation allows overcranking in the supported 720p modes to up 60fps to those same SDHC cards. Note, however, that the adapter/SDHC combination does not work in the MR100G SxS recorder. JVC even notes this in the documentation.

Let’s get back to camera features and layout. The LCOS viewfinder is bright and fast (JVC says its interface to camera is HDSDI). Overlays and zebras can be set. While it is natively 16x9 as would be expected, safe areas for all formats including even 2.35:1 can be set. The LCD flip-out screen is one of the largest in the industry at 4.3". The menu controls on the side of the camera are large and easy to operate even when holding the camera. They change color depending upon the cameras mode. The default blue shooting does bother me a bit. I prefer as few distractions as possible, and my gut just says “consumerish” to cute lights and colors.

The menu structure is extensive and does allow a number of “painting” options with both cine and standard gammas. I still find that the Sony EX cameras offer more versatility for camera “painting” than do JVC or Panasonic units. Still, there is sufficient ability to control gamma curves, color matrices, knee, balance and levels that I do not believe that should be a factor for the overwhelming majority of users.

JVC chose a different path from similar Sony and Panasonic entries by utilizing CCDs rather than CMOS chips, and joined Panasonic in staying in 1⁄3" sensors. Thus JVC presents a very clear choice to users. CMOS cameras by the nature of the rolling shutter in cameras in this price range (global shutter CMOS cameras would position a camera in a much higher price range) are subject to “flash banding” (as Panasonic calls it) and to skew when panning. This makes the JVC a much more suitable camera for weddings, events, music videos and other shooting situations where there would be significant strobing or flashes. In an earlier review of the Sony XDCAM EX-1, I demonstrated that the rolling shutter may not be that much of an issue with one flash. With strobes or multiple flashes, however, it would be a significant problem. Likewise, fast pace hand-held video would produce far superior results with CCDs.

The choice of 1⁄3" over 1⁄2" has been a source of concern for some. My very anecdotal and admittedly non-scientific comparison between the test HM700 and my EX cameras showed no more than a 2-stop difference. I can live with that. One would also think that the larger chips could achieve a more shallow DOF. I do find this to be the case, however, the difference is not as extreme as even from 1⁄2" to 2⁄3". In other words, I’m saying that, for most users, the chip size is a non-issue.

One thing, however, that will be endemic with 1⁄3" CCDs is that the image is not a full-raster 1920x1080. The chips are 720 chips with JVC’s “triplex offset” pixel shifting technology. But coupled with the sharpness of the Canon glass, most users would not perceive a difference. Again, it is an issue but at least for me would not be a deal breaker.

There are a few other little items that trouble me: I’m just accustomed to a zoom rocker on the top camera handle. It is absent in the HM700. While the camera offers HD-SDI out, it does not match Panasonic or Sony offerings with T/C or Genlock. I think this is a crucial feature for cameras that could potentially be used in multi-cam production scenarios.
I also found the KA-MR100G documentation slightly confusing since it was written for tape-based rather than solid-state based cameras. To record to the MR100G device, the camera needs to be set to IEEE-1394 control. This just did not seem logical and required me to consult and interpret the documentation. I passed this along to JVC and was told that the documentation is being revised to reflect the new cameras.

Often, though, the greatest testimonial of cameras comes not from reviewers but from users. Grayson, Georgia-based producer/videographer Tommy Woods offered me his assessment of why he purchased this camera and his experiences. And this great lightning shot illustrates the camera’s abilities:

“I shopped and waited to buy a camera for a while.  I went to NAB hoping to love something Panasonic was doing. I’d had success with them in the past.  But, I felt like they were missing the mark, especially when I got to the JVC booth and saw they had created exactly what I was looking for.  An HD camera with changeable lens for under $8,000.  The fact that they were doing this native QT and to SDHC cards was double the icing on the cake!  Other than those perks... my other favorite aspects of the camera are the dynamic range and ergonomics.  I can shoot into a window without blowing out, and I can hold the thing for more than an hour without being in pain.  I ran a Sony EX1 and EX3 for two 12-hour shifts on a reality show... ughh... talk about hard work.  That camera has no reasonable handle.  I was SO glad I didn’t get talked into that one.  I ran my JVC on a 5-hour shoot (Iron Chef-style) and never missed a beat.  The JVC 700 is a great camera.  Some people get concerned over a 1⁄3" CCD, but I love this camera, and I think the visual result would be negligible if any.  It’s also about the eye behind the lens... not just the camera.  Keep in mind, I am a writer/director with cinematographer tendencies, so I don’t know everything about it... but the JVC GY-HM700 rocks... and I plan to shoot a feature film with it very soon!

Who is the target user of the HM700? I would place it squarely in the hands of ENG crews, wedding and event videographers, religious broadcasters, industrial and training videographers, law enforcement and documentary shooters. Its superb handling, sharp picture, wide range of controls and economical media commend it to our readers. JVC has produced a real winner and its users will share in those victories.

JVC GY-HMC700 Camcorder

SCORE: 

PROS: Form factor, image quality, Canon lens, SDHC recording to native .mov, .mp4 with optional SxS recorder, clarity of viewfinder and fold-out screen, HDSDI output, CCD chips not subject to rolling shutter.

CONS: MR100G only holds one SxS card, 1⁄3" CCD could be a problem for some users, no T/C, Genlock I/O.

BOTTOM LINE: My only regret about the HM700 is that I only had it for a two-week evaluation period.

MSRP: $7,495 with Canon 14x lens; $7,995 with KA-MR100G SxS recorder

CONTACT: www.pro.jvc.com