Technology and Innovation

On the output side, we captured clips shot in HDV 720/30p and in DV 720/24p to see how they fared in an editing environment. Using Adobe Premiere Pro 2.0 on a system exceeding minimum requirements for HDV editing, we had no problem making simple edits. We also tested the live conversion from HDV 720/60p to 480/60i via the composite output on a calibrated rear-projection television and found the quality of the signal to be very high. We could not find any evidence of compression or conversion artifacts.

Camera Control
One of the features that sets the HD200U apart from much of the competition is the use of a high-quality manual lens. A 1/3″ bayonet lens mount connects the standard Fujinon 16x lens that features manual focus and both manual and servo control over zoom and iris. Those of you that long for direct access to these fundamental controls won’t be disappointed; they all give you a very fluid feel with fine degrees of adjustment. If you don’t have time for all-manual control, with a single flip of a switch, you can engage the HD200U’s Full Auto mode, where even gain values are determined for you. Auto exposure was very fast and reliable in most situations.

Definition DV, selecting from 480/60i, 480/24p and 480/24pa formats, JVC Pro GY-HD200U.
In our tests, we shot a variety of subjects in all modes and were particularly impressed with the silky smooth image quality of the 720/60p format. JVC’s new Super Encoder has now made recording this progressive frame rate possible in an HDV format. This is a really huge advantage for producers shooting fast moving subjects, or just anyone simply wanting an incredibly fluid look for their camera movements.
The native 24p will remain a favorite for independent producers (among others) looking to recreate the temporal likeness of film. Like all 24p frame rates, however, some strobing is inherent. Recording in the DV mode, the 24p format records in a 2:3:2:3 pull-down sequence for easy editing in a standard NTSC environment, while the 24pa format records in a film-standard 2:3:3:2 pull-down for film editing output.

Over the years, we’ve found that manufacturers sometimes like to slap the word “pro” on their camcorders as a way to compensate for less than professional capabilities. Clearly, this is not the case with JVC’s recent addition to its professional products line, the GY-HD200U high definition camcorder. While the sticker of $8,995 pushes the upper limits of many of our readers’ budgets, there are just too many features for the serious shooter packed into this camcorder not to cover it here in the magazine.  OK, we admit it. In an ideal world, looks should be one of the last things you consider when buying a camcorder, right? But you just can’t help but be impressed with how the HD200U stands apart from other camcorders in its class. With its compact shoulder design, a 16x Fujinon removable lens in front, sleek, though certainly not Spartan, main body, component/DC assembly and brick battery dock at the rear; this is certainly a camcorder that holds its own in a crowd of professional high-def camcorders.
Hoisting the HD200U to your shoulder confirms that JVC has built a solid, rugged performer. When you heft its 10 lbs. 7 oz. with tape and Anton Bauer battery, you know you’re armed with some serious metal and glass. Even the tape door, usually requiring delicate closure of an inner cage on other camcorders, is very robust. Simply pop in the tape and close the camcorder’s sturdy outer door.